Quotes About Cinematography

I think the audience doesn't know a movie's lit, but they feel it. Because you've walked in a forest many times, or in a park, so you know how it looks. When you start lighting, subconsciously you know there is something that is absolutely wrong.

The first female DPs that I was aware of were Ellen Kuras, Mandy Walker, Nancy Schreiber, Amy Vincent, Sandi Sissel, Maryse Alberti and Tami Reiker. You look for a role model as somebody who looks like yourself and is doing what you want to do; they were the handful.

There's one right place to put the camera. I'm a big believer in that. You'd think you could put it anywhere. Nope.

I just love the black and white movies.

Lynne Ramsay's 'Ratcatcher' blew me away when it came out. When I started making short films, I would watch that film over and over again, marvelling at how that story visually unfolded.

When you act against a blue screen, you have to imagine what's not there.

Bharathirajaa taught me everything, from body language to emoting with one's eyes.

I have a big affinity for the Coen Brothers.

I'm a movie buff.

I can't watch a movie where the actors are great and the photography sucks.

Sometimes you see films, not just science fiction films, where you get the sense that if the camera were to pan just to the left or the right, all of a sudden you'd be seeing light stands and crew standing around. But with 'Blade Runner,' the beauty of it is that it felt like a real, breathing city.

When I'm actually assembling a scene, I assemble it as a silent movie. Even if it's a dialog scene, I lip read what people are saying.

I actually started as a model builder and quickly progressed into production design, which made sense because I could draw and paint. But I kept watching that guy over there who was moving the actors around and setting up the shots.

Peter Jackson is a real big hero of mine because he had the nerve to make 'The Hobbit' at 48 frames per second.

The most creative phase of a film is in shooting, because structure is the defining element of that phase.

The future of filmmaking is to make the canvas bigger, something you can't enjoy on your phones or computers.

If I want to make people moved or cry in a film, I figure out what the room looks like, what the people are wearing, what time of day it is, what the light is, how to photograph it, where to put the camera. It involves optics and costume design and set design and architecture.

Oscars are won with two or three shots only, because if it's really beautifully photographed, you don't really notice it until the astounding moment emphasizes it.

When I went to Jamia, I thought I wanted to be a cinematographer or photographer because I liked telling stories in pictures, but my teachers explained that if you want to tell your own stories then that is what a director does.

I get to collaborate and tell stories with moving photographs.

I really like photography, and I'd like to do more of that kind of thing. If I had to choose a different job within the industry and do it well, I would love to do cinematography.

I was not getting work, even after auditioning for films. So I started working in a studio as a photographer; I assisted a cinematographer for two ads. I was thinking that I will get into photography or cinematography or assist someone. But then the 'Dangal' offer came, and I was busy with the auditions.

My directors of photography light my films, but the colours of the sets, furnishings, clothes, hairstyles - that's me. Everything that's in front of the camera, I bring you.

I don't think there is a movie that I've been on that I wasn't sure I could direct it better. But certainly also, as a director of photography, I have to serve the movie in whatever way I can as a filmmaker.