Quotes About Cinematography

I love more than anything looking at a movie scene by scene and seeing the intention behind it. It allows you to really appreciate the hand of the filmmaker.

If you're a female and you get asked by someone who shoots the most beautiful female scenes to be in their film, it's kind of exciting.

Sound is the most important thing on any film, especially documentaries.

My favorite films left the camera rest, and the actors and characters have a stage to act. Move the camera when it's motivating.

A special effect is a tool, a means of telling a story. A special effect without a story is a pretty boring thing.

A special effect without a story is a pretty boring thing.

'Twin Peaks' was incredibly slow, methodic, taking shots that were uncomfortably long, with a lot of scenes where there was barely any dialogue. 'Riverdale' has a much faster pace.

'Twin Peaks' is like a movie; 'China Beach' is like a movie. These are two of the most cinematic shows on television, and they belong together.

When I'm making documentaries, I think a lot about how fiction films play. I want them to have the pacing, the twists and the character development of fiction films.

I love movies where you can tell who's directed it even before the credits roll in, like Wes Anderson or Quentin Tarantino. People who make very stylized types of film.

Ultimately, I am very filmmaker oriented, as a producer.

HBO churn out some unbelievable stuff. They really got me with things like 'Band of Brothers.' But you can't beat 'The Sopranos.'

For 'Star Wars' I had to develop a whole new idea about special effects to give it the kind of kinetic energy I was looking for. I did it with motion-control photography.

The perceived wisdom is that people do not go in large numbers to black-and-white movies anymore - which is a great shame, but I'd love to make a black-and-white movie one day.

The large ensemble cast and the fact that it was being shot in New York, combined with a lot of strong positive images as far as African Americans are concerned, really turned me on to The Best Man.

And then we watched an amazing number of movies from the late '60s and '70s, which is my favorite time, and we studied their camera movements, their stocks, the way they lit stuff, the colors they used.

For us as writers, it's really important to have songs we believe in - even before sometimes we shoot a scene. If we have a song that's so perfectly designed for a scene on 'Rescue Me,' we'll play it on loud speakers during the shooting. It helps the cameraman and it helps the director, and it helps the actors know what the feel is.

So, when the special effects are at the service of the story and draw you into it, that is really the magic.

I like doing as many special effects in camera, as much as possible.

I'm of a generation of director that came up understanding special effects.

When you watch the films that I'm inspired by - from the '60s and '70s - it's not about the special effects: it's about the story; it's about characters and relationships.

For each movie that I do, I like to find a specific language to tell the specific story.

There are particular images that I like. Allegro is composed of a series of still life photographs that has been put to speed. There is so much care that has gone into the composition of the cinematography.

Perhaps the most difficult thing is shooting scenes set 6,000 feet up in the mountains of Mexico.