Quotes About Widescreen

'The Authority,' by Warren Ellis and Bryan Hitch, really pioneered the widescreen, action-packed style of storytelling.

So much of 'Mudbound' is about man's relationship to the land and to the elements. It's about the desire for control and how powerless we are against nature. We always knew we would shoot widescreen as a means to isolate a body in the frame and to highlight our own insignificance.

A wide screen just makes a bad film twice as bad.

I loved, in 'Starman', the use of anamorphic lenses, the creation of blue light, and Carpenter's use of the widescreen format.

I remember, at one point, I was actually studying it kind of intensively around 2001, when Hrithik Roshan was big. I wanted to learn more about it, as I've always been intrigued by the craft of Bollywood, in that how well they were shot in glorious widescreen. I would actually go to see Bollywood films in the theaters in New York and New Jersey.

When I started making films, all the theaters, the screen would slide open the widest possible point, and that would be widescreen. But now, theaters are geared up for around 16:9, so scope is now 'letterboxed.' In a way, if you want the big picture, you shoot 16:9.

I decided to restore 'Napoleon' after a widescreen festival at the Odeon Leicester Square in 1968. It was run by Richard Arnell and George Dunning, who animated and directed 'Yellow Submarine,' and they'd got their hands on the last scene, the triptychs. They just showed that part, without music and with the projectors misaligned.

I knew I wanted to work in Cinemascope because I find it much more beautiful just in terms of the shape of the screen, the wider image, and it's also less like television, which is important.