Quotes About Cinematography

'Heyy Babyy' needed fast cutting and eye contact. It didn't need fancy camera angles.

The format of Netflix was the dream for us. It allowed us to make cinematic, longer episodes without interruption.

I like shooting on location in New York City.

When you watch a film, a huge part of it is the music and the coloring and everything that comes together to create such a unique film. So, reading the script, I had no idea what it was gonna be.

sheepish. "My job is to give these kids guidance on mise-en-scène

I like to try to shoot in the city in a way that allows the city to go about its business while we're shooting, and that's always a challenge because, unfortunately, people on the street don't know not to look in the camera or interact with the actors.

Every shot is unique, even if it's just a close-up, an insert of your hand. You've got to work with the guy behind the lens to get it right, focus in. Those are critical little nothing things, but you've got to work with the people who are trying to put it down, in order to get it.

As you can probably tell, I like films and directors that bring a totally unique style to filming action.

I think there are movies that are so gigantic that you need a second unit.

When I made 'Real Steel,' the director actually had the robots in the monitor, so he knew where everything was. So technically, there's been advancements. But at the end of the day, movies are about story and characters, so all the other stuff is great, but unless you have those two elements, then you've got nothing.

Male crews know that women cinematographers are here to stay, and there will be more of us. If they're professionals, they behave as such.

I think women have made progress in cinematography, contrary to women directors, who I think have regressed. There are many more women cinematographers than when I started.

You can shoot a film in New York without seeing the Empire State Building. Or Starbucks... although the latter is much less realistic.

A sad truth I learned as a DP starting out was that it doesn't matter how beautiful I make it if the story and performance are not there. That should be number one.

I shot 'Fruitvale Station' on super-16, and then I shot a movie called 'The Harvest' on 35mm, and then I shot 'Little Accidents' on 2-perf 35.

I don't really believe in the mystery of cinematography - what happens in the camera is what the cinematographers create and all that nonsense - I want the director to see what I'm trying to do.

Objectivity is the purpose of documentary filmmakers.

I wish that every director was as interested in doing as much in camera and with physical objects as much as possible as J.J. Abrams is.

I think the camera was always my obsession, the camera movements. Because for me it's the most important thing in the move, the camera, because without the camera, film is just a stage or television - nothing.

It's one of my obsessions to come up with ways to reimagine establishing shots in new, non-boring ways. Shots that have energy and excitement.

I loved movies. In particular, I loved movies depicting places and events that obviously you couldn't have gone out and shot. It was obvious you were looking at something that had been manufactured in some way. I was fascinated by that.

I find that movies tend to fix the aesthetics of a story in people's minds.

Usually, if you notice good cinematography, then the cinematographer's failing. I try to make light feel like it's always motivated and natural in some way and hope that the lighting goes unnoticed.

Life is unpredictable, and I feel, to some extent, lighting and cinematography should be a reflection of that.