Quotes About Cinematography

Honestly, if I could shoot everything in 1:33, I would.

My films start with images, a few images and a few feelings, and I try to edit them together to see the correspondence between these images and these feelings.

My two great loves when I'm shooting are working with great actors and composing images.

I love telling stories with images. But I think there's more to just saying a movie is great visually.

Visually, I want to try everything. But I believe that every shot of my films really expresses what I think about the story and the character. The most important thing is the story, not the images.

For a cinematographer, every frame has to be important.

Technology is a very important part of cinema.

Music is one of the important things for me in cinema.

There's always a certain amount of camera improvisation.

The technology available for film-making now is incredible, but I am a big believer that it's all in the story.

I always wanted to do an animated movie. I find it to be incredibly liberating as a way of telling a story.

No, 'F/X 2' was a job. I enjoyed doing it but that was definitely a job. I wrote that, I didn't direct it but 'Candyman' and the earlier horror movies I made, I was completely into horror and suspense and always have been. It's informed everything I've done, even the way scenes are shot in 'Kinsey and 'Gods and Monsters.'

There's nothing worse than an ostentatious shot. Or some lighting that draws attention to itself, and you might go, 'Oh, wow, that's spectacular.' Or that spectacular shot, a big crane move, or something.

To do a train wreck and make it look real on screen is tremendously skilful.

As far as lighting and blocking, camera angles and facial expressions, all that stuff that has to be very specific in film, as opposed to in wrestling where everything is larger than life and you're performing to the masses.

Film schools didn't exist when I was growing up. I learned by working with clever people. Good writers and cinematographers.

Writing, of course, is writing, acting comes from the theater, and cinematography comes from photography. Editing is unique to film. You can see something from different points of view almost simultaneously, and it creates a new experience.

I am drawn more towards Russian films owing to their compelling camera work, because of my own inclination towards cinematography.

If you have a movie that doesn't strive to go to a certain emotional point, you can do anything and it will be fine and funny. But if you have something pretty emotional at its core, you have to make it right. You don't want it overwrought or unearned. Everything has to be moving towards this one thing.

The most important thing is, how can I move forward towards something that I can't articulate, that is new in storytelling with moving images and sound?

With 'Toy Story,' which is a fantastic film but is essentially animation, you get to make all your decisions beforehand. 'Jumanji' is shot much like any other action film.

Scale is not just something that a director wants so as to play with all the toys. Scale also lends verisimilitude, to put together a real world.

The first dolly track was somebody who had the idea to put the camera on a boat on a canal. So the boat would move very slowly but steadily. So they would see all that surrounds you and you'd see the landscape changing slowly. So that was the first time.

The shooting of the movie is the truth part and the editing of the movie is the lying part, the deceit part