Quotes About Cinematography

I really wanted to write the way Kubrick makes films - 'Strangelove,' '2001', 'Clockwork Orange', 'Barry Lyndon' - they're all so different.

Movie-making is telling a story with the best technology at your disposal.

'Breaking Bad' is the best, the greatest, the most amazing thing I have ever watched on television.

I thoroughly enjoyed working on Enemy of the State. Tony Scott is an important director, and has an amazing ability to express himself, and he doesn't do it in musical terms, he does it in emotional terms. I got along really well with him.

Every single art form is involved in film, in a way.

Cinema is an art form.

I have never been sorry to see my sets being struck, provided they are well photographed. They're not works of art but part of making a film.

For me, I see filmmaking as art.

I don't particularly enjoy watching films in 3D because I think that a well-shot and well-projected film has a very three-dimensional quality to it, so I'm somewhat sceptical of the technology.

Every film should have its own world, a logic and feel to it that expands beyond the exact image that the audience is seeing.

When I was growing up you would see big American films that really mythologised their landscape, that really showed the vastness and the drama of their country.

I feel for Veronica Mars so much when I'm watching at home. It is a wonderful story. The writing is consistently funny, biting, charming, heart-wrenching, etc. I also like the look of it. The cinematography - different from any other show.

I always try to preserve my cinematographic style, even while I work in the US. I wish to always be European.

I would love to work with Tim Burton. I think we would be very good together.

In all my documentaries I did all the camera work, but in fiction I didn't want to do it myself. I think the machinery is so heavy and demanding that you would leave the actors alone for a long time.

So much can be learned by any filmmaker by studying his work, in terms of blocking, staging, editing and sound.

Each story has a different approach for me and I try to work with lighting that will tell you visually the story better than if it was shot in available light.

I had a really good time working with Jim Cameron. A lot of people didn't, but I did as I got on with him really quite well. For a director who spends most of his time looking down a lens or in the digitisation studio or working out some graphics, he is actually very good with actors.

The identity of Studio Ghibli movies are how the characters move. They move like live, real people.

When I was studying photography, I became interested in conflict photojournalism, and that got me interested in lighting. Then I realized there was this amazing thing called cinematography where you could kind of tell more complete stories photographing for film. So I ended up going to AFI grad school for that.

'The War' is a stunning achievement in filmmaking.

The art of stunt-making is not about falling down; it's about getting the shot. Creating stunts is creating heroes.

It's much easier to make a movie with kind of stylistic pyrotechnics because you can hide behind that if there's a gap in the story.

What makes a lot of suspenseful films work is very, very particular points of view and very subjective use of the camera.