Quotes About Cinematography

I think some of my favorite Australian films were shot by people that are not Australian. And I think when Dean Semler did 'Dances with Wolves,' for instance, that's a very different-looking Western than what you've seen much of before. It's very rich, color-wise. But we've got our own very proud thing going on.

A screenplay is really a blueprint for something that will be filmed. Therefore you must always keep in mind that whatever you write is going to be staged, for real.

You have very accurately described the difficulty of presenting my books on film: many of my characters are alone most of the time, and when they do talk, what they say is mostly lies. That can make for a pretty confusing film.

And later I thought, I can't think how anyone can become a director without learning the craft of cinematography.

New technology is changing the way we can film. It's enabling us to get fresh new images and tell brand new stories.

The movies I make and my interests are always about pushing the technology as far as we can in support of telling great stories and showing an audience things they haven't seen before.

Technology continues to bring us wondrous advances in filmmaking to improve how we view movies.

In film, we sculpt time, we sculpt behavior and we sculpt light.

Any time you talk about the look of the film, it's not just the director and the director of photography. You have to include the costume designer and the production designer.

I always viewed life as material for a movie.

I shot [Dream of Life] all on 16-millimeter, and I just wanted to learn about Patti [Smith].

Pretty much all films I've seen that depict the life of Christ end with the Crucifixion, almost like the filmmakers don't know what to do after.

When you're making a film, you have an obligation to fill the frame with life.

Flashback in film rarely works.

When you shoot at slow-motion, or a high frame rate, it makes it really difficult to rack focus.

Satyajit Ray made films the way films should be made - from start to finish. So whether you're needed on the set or not, you can spend your whole time thinking about your character.

Having been a cameraman, I think about, 'Well, if this was real, how would this be shot?' I try to inject as much realism as much as possible.

The water in 'Life of Pi' is very realistic.

Rita Hayworth in Gilda... there's not a shot of her in that movie that isn't gorgeous.

I seem to gravitate toward the dark side of things when it comes to directing. I love action, but I love the drama as well.

There are always challenges to green screen.

When you're doing a film that has so many effects, you do a lot of it on green screen, and you can't see what that world is.

I couldn't imagine 'True Grit' in 3D. I think the idea is sort of absurd.

If the regular length of a shot is increased, one becomes bored, but if you keep on making it longer, it piques your interest, and if you make it even longer, a new quality emerges, a special intensity of attention.' This is Tarkovsky's aesthetic in a nutshell.