Quotes of All Topics . Occasions . Authors
I really like to work with people who know a lot, but they also give me space so I can add something to the movie.
Some movies are what I would call murky. Just because it's murky doesn't make it artistic. It makes it hard to see.
I think that film is still an artform and it doesn't really matter if you're using a digital camera or a film camera.
There are many, many different kinds of movies and directors and styles. I don't mind that a movie looks like a movie.
Out of 10 projects I get sent, seven or eight are female protagonists, and that's not the only thing I'm interested in.
We're too complacent. We let things happen to us. And you don't have to let things happen to you. You can affect change.
I hope that film is going to stay as an artform and that people won't forget that there are good movies also to be made.
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 rules of soccer are very simple, basically it is this: if it moves, kick it. If it doesn't move, kick it until it does.
A lot of male cinematographers stick a pillow to their stomachs so they have somewhere to rest their elbows while shooting.
I don't want to step on the DP's toes. That's the first lesson I learned when I started directing with other cinematographers.
Normally, if I would read in a script that there's mostly flashbacks and mostly voiceover, I would run as far away as possible.
There are a lot of women who direct in a way that is even more masculine sometimes than men - and that's not a bad thing, either.
I should mention Vittorio Storaro, who was Bernardo Bertolucci's cinematographer. You watch those films and they are exceptional.
Ultimately, the idea of being able to escape and lose myself in a new world every time I go to 'work' was too appealing to ignore.
Every individual should have a purpose in life which is worthy of intense effort-and constantly work toward the definite goal ahead.
I want people to think about what and who they have in their lives and then run home to hug them and tell them how much they love them.
The language of film is further and further away from the language of theater and is closer to music. It's abstract but still narrative.
I joke around sometimes and say that the DP [director of photography] is like a shrink for the director, but there's some truth in there.
The peculiar fascination which the speeding train has for us comes from the evident progress it is making toward its definite goal ahead.
I would love if film doesn't disappear, if we can have film forever so we would have all these brushes, all these possibilities available.
One of the color combos that I really love is the tones of technicolor, which older movies would have, these tones of blue and red in them.
I have lived most of my life in Paris, but I have a connection with Rome that I have with no other place. I'm attached by invisible strings.
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.
The interesting thing about 'The Handmaid's Tale' is that everything that happens in it has happened or is happening somewhere in the world.
When you're shooting with long lenses, even if you're shooting a close-up, you feel the air, the distance between the camera and the subject.
Whenever a woman wields a gun in a film, it ends up looking like they're trying to be sexy rather than they actually know what they're doing.
Light. Light I think is knowledge. Knowledge is love. Love is freedom. Freedom is energy. Energy is all. Without light, we can't have images.
You used to feed a piece of celluloid into an editor. [Digital] is not expensive and that is an advantage, but I must say that I don't love it.
Spielberg was very young and starting up when we did Sugarland Express and I loved that, but the main thing was that I really loved his talent.
I love to make movies about young people - young scientists that are inventing things and all the writing they did was very funny and very true.
The lack of perfection, that's the hardest quality of all, because you're fighting your instincts. You're trained to want to do things perfectly.
A cinematographer is a visual psychiatrist, moving an audience... making them think the way you want them to think, painting pictures in the dark.
I really hate having to put 'female' in front of any title, because it puts us in some kind of weird category for handicapped people or something.
In everything I do, the aesthetics are driven by the emotion. However I can do that with a camera, whether it's a long lens or a wide lens, I'll do.
I read it in college as an assignment. I didn't think about it at the time. But when I heard there was a 'The Handmaid's Tale' pilot, I freaked out.
I've learned one general thing in filmmaking: to work with one strong idea. One strong concept that pushes you to work in a certain way artistically.
My father passed away when I was 18. It was the worst thing that ever happened to me, but it is not like that all the time. Not every moment is dark.
There was a movie that was made about 'The Handmaid's Tale.' And I never watched it on purpose because I didn't want to... I just didn't want to know.
I've DP'd so many films for first-time directors, and I know the trauma, the heartbreak, the vulnerability, how much you have to believe in the story.
A huge problem in movies or with people who work on movies is that two people can look at the same thing but they don't necessarily see the same thing.
When I read 'Meadowland,' I could see the potential for a very internal, quiet story that could be powerful and emotional but also disturbing and dark.
I'm always looking for directors who are very strong, they have great ideas, but on the other hand, that need help. It means they rely mostly on my eyes.
I was in film school as an undergrad with a focus on directing. Once I started working on shoots, I realized, 'Oh, I really like this cinematography thing.'
When I was an undergraduate in Film & TV at NYU/Tisch School of the Arts, most of the projects I shot had male directors, and only a few had female directors.
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.
Women have to compensate more in the personality department in order to get the things that men get. And they don't have as much leeway for being divas or jerks.
There are, of course, many, many, many good cinematographers and unfortunately they don't work as much as many of those people who do those crazy, stupid movies.
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.