Quotes About Cinematography

Love scenes in general are the most technical things to shoot.

From the first moment on the set I was consumed with curiousity about the technical side of shooting a sound picture.

Film is like sculpture, writing, acting, technical arts, all sorts of arts. And that's why I wanted to do it for so long, because it would include so many places for attention.

I emphasize the technical aspects in all my films, not just Hindi.

I have an inherent interest in filmmaking and equipment. Some of my best friends are technicians.

Finding where to put the camera is probably the most important thing you have to learn when you're a young director, and it's something that's a mixture of instinct and technique.

So I used formal techniques to make the film more perceptive emotionally.

We had so many firsts on 'Coraline' that I couldn't quite see where we'd go from there, but for 'ParaNorman' we developed this 'skewed naturalism' that marries a lot of intricate detail with a more cinematic approach, then just built on all that and pushed those techniques even further, so we can tell our stories that much more effectively.

I'm not an artist. I set the camera up and tell my story.

Let me tell you something about Joe Manganiello - I don't care, dude. The most impressive thing that you have on your cinematography is that you got beat up by Spiderman.

It's only the filmmaker. The script is really, really second. And there's a huge gap between filmmaker and script for me. I almost don't care about the story that they're telling; I really only care about who wants to tell it.

A shot is only as every as good as how well it tells the story.

He was an editor for seven years before directing his first film, and his career stands as an argument for the theory that editors make better directors than cine-matographers do; the cinematographer is seduced by the look of a film, while the editor is faced with the task of making it work as a story.

The angles are the director's thoughts. The lighting is his philosophy.

I'm always looking in the lighting to tell the story in a different way than it actually looks in real life because it's, for me, more contrast sometimes has to mean it's softer than normal.

We had the guys from X Men 2 do the cameras. They had a 360 camera that would go from one car, up in the air and over to another car in a continuous shot while the film was still rolling, going 90 mph.

I like figuring out where I need to be mentally so that I'm not thinking about the camera and that it's second nature. I want to get to a place where I can exist within the confines of what you can do with filmmaking and not have to think about it.

So many directors say nothing beautifully, and so many others say great and profound things but have no idea how to read a light meter or arrange a shot.

As I started to develop as a director, I wanted to do projects that were inherently more cinematic, where the freight was not so much in the dialogue, where it would be carried more by the camera.

I'm very proud of 'Valhalla Rising.'

Unless it's a song and something fancy, I would rather shoot on location.

You can have a movie with hardly any cuts, or very few cuts, that is fascinating, you can't take your eyes away from it... Look at some of the long takes in Citizen Kane.

I kind of discovered Kolkata when I was shooting here for 'Kahaani.' I found the city fascinating.

I don't set out to make a film for festivals abroad.