Quotes About Cinematography

When I watch films and it becomes just about the reference and not necessarily a flow with how people naturally speak, that's when you're just saying, 'Okay, I'm trying to be cool and show off.'

'The Hateful Eight' is like theatre.

I have a brilliant sound design team who's been working with me since 'Mr. Robot,' and one of the things we always think about - and it's also something we think about with cinematography - is how we get inside the characters' heads and how do we place the audience where we want them to be or how we want them to feel at any given moment.

I'm not a purist - I like films that are narrated and films that aren't, films that are beautiful and films that are clumsy but heartfelt. Mostly, I just like a good story and good characters.

Ashok Mehta was the man who brought contrast and lighting back to mainstream Hindi film cinematography.

If everyone worked with wide-angle lenses, I'd shoot all my films in 75mm, because I believe very strongly in the possibilities of the 75mm.

I thought that it would be easier to learn that if I worked in motion pictures. So I went to work with one motion picture producer who was developing a color system. This didn't do to me much good. All I did was pick filters for the camera.

Till now I have never shot a scene without taking account of what stands behind the actors because the relationship between people and their surroundings is of prime importance.

I love Hitchcock's films because even though you knew who did it right at the beginning, he still kept the audience engaged till the last frame.

I don't want to step on the DP's toes. That's the first lesson I learned when I started directing with other cinematographers.

I've watched 'Being There' over 50 times, and every time I watch it, I love every frame. I just wish I had directed it myself.

I hate movies that take a long time to shoot or directors that labor over every shot or do excessive amounts of coverage and excessive takes and don't keep things moving or constantly cutting.

'2001' used a lot of what's called 'front projection.' You project an image onto this giant reflective screen, and the image bounces back and comes back to the lens and seems to be in the background behind the actors. The whole 'dawn of man' sequence in '2001' was projected eight-by-ten photographs of the African savannah.

Films are amazing. To be a part of a movie is the greatest. It's so historic and exciting.

The learning curve is 'The Hobbit' is being shot in 3D.

A really good horror film has a story.

I never shoot my movies like I'm shooting 'a horror movie,' I shoot them like dramas. Dramas and then something horrible happens.

If you make horror movies, you always have to think what's photogenic and what's not.

Decía ver las escenas que contaba como a través del ojo móvil de una cámara. Y la cámara seguía a los personajes, captaba rasgos y detalles significativos, iluminados o en penumbra, en primer plano o como figuras al fondo de la escena, entre la luz, el claroscuro y lo negro.

I'm thinking about doing a First World War film.

Whenever I think about movies, I always look at that art process as having the best of a lot of worlds. Because if you watch a great film, you have a musical element to it, not just on the scoring, but in the way that the shots are edited - that has music and rhythm and time.

I don't use film cameras. I don't do visual effects the same way. We don't use miniature models; it's all CG now, creating worlds in CG. It's a completely different toolset. But the rules of storytelling are the same.

The more tools we have directors and cinematographers will be able to express more and create different worlds and feelings. It's like having more instruments in an orchestra.

Well, I think on second units it's all about execution. Because you come in there, you don't have to worry so much about the studio and all the other actors and all that.