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Really fantastic film, 'Munich'. So yeah, if I would say, what's the most underappreciated film, I think 'Munich' would be the one.
There's so many films from around the world, I emphasize, that are so beautifully photographed, but they don't get the recognition.
If you're making commercials which sell products which are unhealthy or which are unnecessary, I think that you are part of a system.
You can't blame a victim for being under the influence when there is a violent act [happening to them]. These are two separate things.
The idea of blaming alcohol or drugs or quote-unquote "promiscuity" is a false path. The real issue is that men should not hurt women.
Every shot I have ever made has been a compromise in some way. No image has ever been as good as the one I envisioned in my mind's eye.
I'd say to anyone trying to break into the business: Don't just be interested in movies. Be interested in life. Be a person. Be in touch.
I am a Chicagoan. I feel like I've simply been on vacation for 10 years in Los Angeles. But Chicago is a real place, and L.A. is a motel.
Male crews know that women cinematographers are here to stay, and there will be more of us. If they're professionals, they behave as such.
I'd say to anyone trying to break into the business, 'Don't just be interested in movies. Be interested in life. Be a person. Be in touch.'
I shot film with the Coen brothers on 'Hail, Caesar!' That's fine. I'm sentimental about film; I've shot film for forty years or something.
Making a film - particularly what I think is a good film - is the result of a team of people, and the end result has many, many hands on it.
I have learned there is a gift wrapped inside of every adversity and, if you have faith and hope, you can lose everything and still survive.
I think that the whole voyeuristic attitude of filmmakers or of me personally - of shooting documentaries and so forth - is an important issue.
Summer movies are spectacles; that's what you pay 10 dollars to see. You want to get teased by effects sometimes. I think that will never stop.
I don't really believe in the mystery of cinematography - what happens in the camera is what the cinematographers create and all that nonsense.
I never really considered film as a career, but I knew I didn't want to be a builder. So I went to art college, and it just gradually happened.
I felt that that experience, because of the responsible nature that I found I acted all during that traumatic time, that I felt that I was a man.
Whether you're a cameraman or a director, you should ask yourself every now and then, 'What am I trying to do?' Be honest and keep things very simple.
I want a script to affect me in some way. I am usually drawn to character studies, scripts about real people and the world we live in not some fantasy.
We, as film-makers, are privileged. We can make people cry or laugh. We can make them think and feel. It is a great privilege and a great responsibility.
I just directed another picture called 'American Dream' with Nick Stahl. Just finished shooting principal photography right before I started ['Lincoln'].
I don't know why I developed a social consciousness, but I really think I have a consciousness; I feel connected to everything and everybody in the world.
I think there are a lot more relationship scenes in my movies that people tend to overlook. A lot of scenes really feel real and are about the characters.
I like simplicity. I like using natural sources. I like images to look natural - as though somebody sitting in a room by a lamp is being lit by that lamp.
I knew exactly how I wanted it to play, but you are never sure until you watch the projected images reflect off the screen. That's when you know it worked.
Every scene is a challenge. There are technical challenges, but often it's the simplest challenge where you feel a sense of achievement when you pull it off.
I think one of the reasons people quit is because they're afraid they won't be able to get better and better; that they have to come to a zenith of some kind.
There is a very particular feeling I get when I have the camera in my hand, looking at an actor talk, knowing that what I’m shooting will end up on the screen.
Some of the smallest things on a smaller film, to me, are greater achievements than on a big film when you have the resources and the time and everything else.
My dad was a builder, so I didn't have any connection to the arts at all. I never really considered film as a career, but I knew I didn't want to be a builder.
I don't believe in publicity before a film is completed. It costs you money and wastes your energy, and you're inflating your balloon before you have a balloon.
One of the most amazing locations I've ever been is the top of the volcano in Tanzania, Africa. It's an actual volcano where you really have this lava every day.
There are infinite shadings of light and shadows and colors... it's an extraordinarily subtle language. Figuring out how to speak that language is a lifetime job.
Angelina wanted to make sure that any fighting in the movie would be comparable to any male actor. Everything from stick fighting to horse riding was real to her.
As a cameraman, I am interested in images and truth. Today, people are conditioned to accept lies if they are commercial lies. What we don't see anymore is ethics.
I've always been a fan of Westerns, but my favorite kind of Westerns mostly were Sam Peckinpah's Westerns, and they mainly took place in the West that was changing.
It is also difficult to articulate the subtleties in cinema, because there aren't words or metaphors which describe many of the emotions you are attempting to evoke.
Most people are good people. But they're afraid to speak out, they're afraid for their safety and their jobs. And unfortunately that dictates a lot of their actions.
I feel every shot, every camera move, every frame, and the way you frame something and the choice of lens, I see all those things are really important on every shot.
Most people, I believe, when they're asked profound questions about their own persona are not really able to enunciate it, because it's a combination of so many things.
When I heard about the first Tomb Raider, I was very interested and I would have liked to have directed that. When I was approached for the second film, I was delighted.
Light can be gentle, dangerous, dreamlike, bare, living, dead, misty, clear, hot, dark, violet, springlike, falling, straight, sensual, limited, poisonous, calm and soft.
But you know you haven't done it all because you know everything keeps evolving and changing; and you know you can evolve with it if you grow and develop as a human being.
Professional cinema image-taking should integrate, serve, interest, and enhance the story. I judge cinematography not just for a story well told but for what the story is.
I think women have made progress in cinematography, contrary to women directors, who I think have regressed. There are many more women cinematographers than when I started.
The balance of the frame - the way an actor is relating to the space in the frame - is the most important factor in helping the audience feel what the character is thinking.
The machinery of filmmaking is really slow and ponderous and I don't know how you're going to make it any faster with any of the systems, whether it's Red, Sony, or whatever.
It makes no sense to bad mouth people, but I think Jean-Luc Godard is astonishing as a survivalist, somebody who can do a film that is as extraordinary as Goodbye to Language.
["War Horse"] does have action as well, but we allow the audience to appreciate the environment where these characters are from because the lens shapes the people, as we know.