Quotes of All Topics . Occasions . Authors
Back-light is the cinematographer's friend.
A period film is a gift for a cinematographer.
But at heart, I am more than a cinematographer.
For a cinematographer, every frame has to be important.
Every cinematographer I worked with had his own way of solving problems.
The cinematographer's basically translating the director's vision into imagery.
I thought of learning cinematography, so I assisted a cinematographer for an ad.
It's a very tricky relationship, the cinematographer and the director as a woman.
I was interested in photography from my college days and wanted to become a cinematographer.
There's always the temptation, as a cinematographer, to make the shot look as perfect as possible.
I'm usually known for films that look beautiful and attractive, probably because I am a cinematographer too.
I don't know one lens from another. That's not my job. It's the cinematographer's job. But I can talk to people.
The way you present a stunt is tied in to the way you photograph it, so you're hanging out with the cinematographer.
I really do believe that the experience of having a child is going to actually make me a much better cinematographer.
I came up the old-fashioned way - tea boy, cutter, focus-puller, cinematographer - but I wasn't myself old-fashioned.
Yes, my uncle wanted me to be a cinematographer and he was disappointed when I gave up that dream to become an actress.
I was at film school when I made 'Small Debts' and I was a cinematographer, so I didn't actually study to be a director.
As a cinematographer, I was always attracted to stories that have the potential to be told with as few words as possible.
As a cinematographer or director, I'm always looking for projects that are able to say a lot with the actor's expressions.
The way I work with my cinematographer is not based on general principles, but the ideas are triggered by the locations where we shoot.
Being a cinematographer taught me a lot. I got to expedite the visions of many directors and learned how to navigate many styles and worlds.
'La Notte' is my favorite of the Antonioni pictures and my favorite work of the master cinematographer Gianni di Venanzo, who also shot '8 1/2' for Fellini.
I was the one who kept telling my second husband he should become a cinematographer. I paid for him to get his director's card, and he went on to make 'Godspell.'
An action choreographer is kind of like a dance choreographer. You choreograph the moves and you let the director, cinematographer take into positioning their cameras.
Everyone his own cinematographer. His own stream-of-consciousness e-mail poet. His own nightclub DJ. His own political columnist. His own biographer of his top-10 friends!
I'm confident that the wrong cinematographer on a project can very much derail the mood and the feeling on set when you're trying to create a bubble of trust, effectively.
When I was in college, I wanted to study film. My first passion was to be a cinematographer. So maybe there's something innate in my music where it partners well with images.
The biggest challenge of any cinematographer is making the imagery fit together of a piece: that the whole film has a unity to it, and actually, that a shot doesn't stand out.
A lot of times, I'll resist the temptation to visually define a movie until, one, I really understand just what the movie's about, and two, until I start talking to my cinematographer.
Laszlo Kovacs was marvelous. He was very much in the same school as Bill Frake, who was, of course, a great cinematographer as well. They had a very similar style and similar sensibility.
When I was in pre-production for Trees Lounge, I was hearing the cinematographer talking with the production designer about colours and this and that, and feeling like I was losing control.
Really, anyone in the business who transitions into directing as a writer or editor or an actor or a cinematographer, at some point you have to kind of take a leap and say, 'I'm committed to this.'
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.
I've got to give a lot of credit to my cinematographer, Chung-hoon Chung, who is a master and among other things shot 'Old Boy,' which is a very famous single-take fight scene. He's really a true master.
I know how a cinematographer wants to be treated by their director, and so I already have a leg up in that department, and I know what would be insulting to say to a DP because I've been one for so long.
I was very glad later when I was directing that I wasn't in the hands of a cinematographer and hoping that he would do it well. I would know what he was doing, and we could discuss how that scene would look.
It was cinematographer George C. Williams who first told me about 'Sakhavu.' He said that the script was good and asked me to listen to it. Later, Sidhartha Siva called me and narrated the script over the phone.
I want to try and be as involved in the art of filmmaking as possible. I feel that the only way to really do that is to take on as many roles as possible, whether it be as an actor, an editor, a director, a cinematographer.
I was at the National Film School and was a cinematographer there. I got quite a lot of experience on documentary film-making and with directors who were interesting - maybe they weren't using scripts or were using non-actors.
I've spent a lot of time in India. When I was a young cinematographer, I was completely enthralled by the color, the movement, the sounds. But photographically, it was very hard to capture it; photographs rarely did it justice.
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.
My favorite part of the whole filmmaking process is working with a fantastic cinematographer, a fantastic actor or actors, and then just creating emotions and stories. I get so excited by that. That's the part I'm utterly addicted to.
When I got on my first set, I watched what the cinematographer was doing, and at that level in film school, the cinematographer has the most control. They're the one looking through the viewfinder, carrying the camera, framing the shots.
When shooting in real spaces, the work of a cinematographer begins where location meets production design meets time of day. No movie light will ever look as real as the sun, so scheduling becomes truly paramount to naturalistic lighting.
When you are interviewing someone, don't just write down what he says. Ask yourself: Does this guy remind you of someone? What does the room feel like? Notice smells, voice inflection, neighborhoods you pass through. Be a cinematographer.
A lot of the time with an independent production, you go onto the set, and you rehearse it in front of the crew, and at that point, the cinematographer takes over. You start accommodating the camera instead of the camera accommodating you.
I got fired from a movie that ended up being called 'Windows,' which Gordon Willis, the cinematographer, directed. I got fired because he refused to cast Meryl Streep, who at the time was at Yale. I told him I thought he was an idiot, and he fired me.
So we got there at 6 a.m. We'd be shooting by 6:45. We wouldn't break for lunch, we'd just pass food around all day. And we would just rock and roll 'til 4, then Matty Libatique, our great cinematographer, would say, 'Outta light, guys' - and that was it.
When you work as a cinematographer, the actors look to you for reassurance. When you're lighting them, they can never think you're making an adjustment because of the way they look. If they are nervous, it impacts their performance, which impacts the story.
I have developed my eye as a cinematographer through the craft of operating. When I am not operating, I am often anxious, uncertain, restless, sometimes irritable. When I am in the position of working with Steadicam or remote cameras, I fly with a broken wing.