Quotes About Cinematography

Movie-making is the process of turning money into light. All they have at the end of the day is images flickering on a wall.

If you look at a lot of animated movies, they don't pay attention to how things move through space.

I like films where the music and the sound design, at times, are almost indistinguishable.

Some of the ideas are kind of inspired by the songs, and I always want to use music to tell the story and give the movie a certain kind of mood. That's always essential to me.

Movies are a complicated collision of literature, theatre, music and all the visual arts.

Music is, for me, a great tool of a filmmaker, the same way cinematography, the acting, editing, post-production, the costumes are. You know, to help you tell a story.

Film provides an opportunity to marry the power of ideas with the power of images.

When How Green Was My Valley finally wrapped, I thought John Ford was a walking god.

People say I pay too much attention to the look of a movie but for God's sake, I'm not producing a Radio 4 Play for Today, I'm making a movie that people are going to look at.

One of the big technical advances that's really great looking is the water.

Grips and electricians have done more to help me shoot good movies than any other craft.

I probably learned, being in 'Taxi Driver' before I made my first film, I would come to the set every day just to watch how that film came about. It's like a graduate course: it's terrific. You talk to the cinematographer during the breaks. You ask the electrician why they are doing this.

As filmmakers, we can show where a person's mind goes, as opposed to theater, which is more to sit back and watch it.

CGI has fully ruined car crashes. Because how can you be impressed with them now? When you watch them in the '70s, it was real cars, real metal, real blasts. They're really doing it and risking their lives. But I knew CGI was gonna start taking over.

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.

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.

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.

I love 'Breathless,' and 'Paris, Texas,' and 'Badlands.' I was obsessed with those films in my teens. I remember watching 'Badlands' and being amazed that there were these scenes in which nobody said anything and the silence told the whole story.

Obviously, the cinematography of films is art, just as a still shot can be art. If I'm watching a Wes Anderson movie, the colour palettes alone, and the way they're painted, could be art. With music, you're a little bit limited, of course, because it's only audio.

Filmmaking is incredible introspective. It forces you to sort of examine yourself in new ways.

In television, the cuts are so quick: bang-bang-bang-bang-bang! I want to shoot two people and sit there for eight minutes and watch them. I've got a lot to learn about television and about the best ways to tell stories directorially in that medium.

What I loved about the 1950s is that there is an aesthetic to even the average film. The way the camera is placed, the way characters move, the way you dressed the sets, the respect for craft and actors, I do miss that in today's films.

When Iron Man's flying, we'd send real planes up to do the choreography so that we'd get the camerawork to really look like a cameraman was following from another plane. It gives it that 'Top Gun' look.

Playing with light is something that is very important, especially when you want cinematography in your game.