Quotes About Cinematography

When people ask me what makes movies great, it's the material.

I love period dramas - be it romance or philosophy.

I'm inspired by film-makers such as Ridley Scott, David Fincher, Orson Welles.

In film, you're painting a canvas. I got really excited about that.

The biggest difference for me was that I operated almost every frame on 'Mudbound,' and I didn't operate on 'Black Panther.'

When '36 Chowringhee Lane' was released in 1981, I was a student of the Film and Television Institute of Tamil Nadu. Everyone who had seen the film was very impressed with its flawless direction and acting. But we, cinematography students, were stunned by the visual style, which was truly international.

Language, I think, has nothing to do with film-making. It is how you make your point and whether you exploit the visual medium maintaining a certain standard that does the trick.

I think there's a connection with 'Nightcrawler' and 'Blowup' and other films where visual imagery is integral to the story. It allows you to play with images.

Visual elements are, of course, the director's job.

Film is much more visual, a scene is typically a lot shorter, you're dealing with a lot more characters, a lot more locations, and you're able to rely on things that you just can never do on the stage.

It's important that period films aren't seen as just a lovely visual exercise.

The movies are all about visual, and television is all about character and dialogue.

Great visual effects serve story and character and in doing so, are, by their very definition, invisible.

Visual effects have always been a part of this art form. And CG is simply a tool on the filmmaker's tool belt to tell a story, but when the end result is bad - maybe it's not the tool's fault.

'Black Hawk Down' has such distinctive visual aplomb that its jingoism starts to feel like part of its atmosphere.

I don't have a style. I've never thought of myself as a stylist like the visual stylists I admire enormously - Adrian Lyne, Ridley Scott, Alan Parker - in which every shot has a great idea in them.

It's the most unrealistic thing you can do to shoot a close-up, and it's the most unrealistic place you can be as a performer. And yet actors grouse about having to do visual effect shots, but they love doing close-ups.

When I watch a movie I don't really care too much about the plot - not that it isn't important, but what I remember is the visual imagery, something that happens in an individual scene.

I really enjoy blocking and staging. I think most of visual storytelling is camera placement and how to stage action around the camera.

Right before 'American Dreams,' I started to pursue these avenues, like short films and getting into a couple night courses to really study photography and cinematography, and the language of visual storytelling.

Cinematography speaks to everything that women do inherently well: It's multitasking, it's empathy, and it's channeling visuals into human emotion.

In a silent film, the visuals are of utmost importance.

When the director has a vision for a piece that I've never heard before, and they can back that up with visuals, and they talk a good game, I get really interested in the world that they're trying to create.

My visuals are typically very powerful. The rhythm is fast. The cuts are fast.