Cinematographers Quotes
The best sayings about Cinematographers that you can share on Instagram, Pinterest, Facebook and other social networks!
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In comics, the writer is also the director in a certain way. So if this were a film, you wouldn't tell the cinematographer to make a good fight scene while you go and get a cup of coffee.
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I thought that was a pretty stupid argument, really, because it's the final product that matters. The look of the film, however it's done, is still the cinematographer's vision in my mind. People said the same when color film came in, didn't they? The world evolves, and image-making evolves.
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I think that digital is offering many great possibilities for cinematographers. Particularly in urban cityscapes and low light photography its allowing us to render what we actually see with our eyes; which is interesting.
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I should mention Vittorio Storaro, who was Bernardo Bertolucci's cinematographer. You watch those films and they are exceptional.
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I think what inspires me is in a constant state of flux...it's easier to stick to photographers and perhaps cinematographers, though the great medieval, Mannerist, and Baroque painters of Italian, Spanish, Flemish, and German origin are a constant source of inspiration, along with select modernists like Dali.
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The difference between a regular camera and a 3D camera, for an actor, is really no different except that the turn-arounds are longer. It takes a lot longer to set up a shot because the cinematographer is really trying to set up a whole world, so it can't be more intricate and more beautiful to the viewers, in 3D.
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To me, achieving tone, achieving consistency, is exactly the job of a director. It is to be the fusing, the nexus of a whole bunch of people contributing to the complex life of a movie. There are actors, there's a cinematographer, there're costume people, set people, there are all these things, and you somehow have to be the person in the middle of it who is making it all synchronize into the same magic bubble.
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In terms of talking with my collaborators as they came onboard - Jeannine Oppewall, our production designer, Dante Spinotti, our cinematographer, and so forth - I said to them, "Let's pretend that this is a place like Honolulu. Let's ignore the fact that all these other movies have been made here for decades and try to come at it with a fresh eye, as if it were an exotic city that people aren't that familiar with. And let's present our own view of it, create a world that's unique to this movie [L.A Confidential].
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Mexican cinematographers Gabriel Figueroa and Emilio Fernandez were students of both Sergei Eisenstein and Toland. Their exteriors and lighting were gorgeous. And the films Ingmar Bergman did with Sven Nykvist were exceptional.
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I don't really believe in the mystery of cinematography - what happens in the camera is what the cinematographers create and all that nonsense.
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Very few cinematographers, other than the Europeans, know how to light women like they used to in the old days.
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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.
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The art of making films is a collaborative art. As a composer, you're always working with the cinematographer because he's so much the heart of the world they've created on film.
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My crew [on "Fitzcarraldo" filming] actually said, "We have filmed it from outside on the rocks of the shore. We should be on board [the ship]," and I said it's dangerous, I only do it if you cinematographer Thomas Mauch and you actor [Klaus] Kinski decide on your own.
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I'm most excited that the hard work has paid off for myself and the team. You put your heart and soul into something and you want to show it to an audience outside of Jersey Boys. It gives a chance to not only show my work, but of Jeffrey Schecter as an actor and co-writer. It gets to show off our cinematographer, my production team. That's what I'm most proud of… everybody gets to have their own moment to enjoy it.
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I grew up as a cameraman, so it's much easier for me to shoot it myself. I work with an operator and a crew, but it's way easier for me to function as a cinematographer, than to have a cinematographer between me and the lens. I don't need that.
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I try to take B genre movies and treat them as if they're A dramas. Get the cinematographers, get the actors to do an A drama, but it just happens to be about aliens or ghosts or crazy people, or killers, or whatever it is.
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In a period piece, particularly a fantasy, the lighting is your own choice, the lenses are your own choice. It's really a great thing for a cinematographer to do. Everything is open for you. You can even be more creative and you can use more shadows than usual.
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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.
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The cinematography was of course incredibly important to me because I graduated as a cinematographer.
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I'm grateful to have been acting for as long as I have because I have so many experiences and memories, and I've gotten to learn from some of the greatest actors, directors, writers and cinematographers. I feel like my career has been a privilege. I can't imagine my life without it.
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As important as it is to learn the techniques of cinematography, you also have to learn how to deal with the movie set, with show business. I came up with a cinematographer who is very talented, but she was never quite able to handle everything else you have to do - dealing with the producer and the crew and the time frame that you have to follow.
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Every cinematographer I worked with had his own way of solving problems.
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I think all cinematographers, at least most of them, would love to do everything on location because you cannot cheat on location. It's there, it's part of the story usually. You have to deal with the elements. You have the sunshine, you have rain, you have fog - it really makes you work harder to try to match things during the day to make it look like it was shot within five minutes, movie time.
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You have to believe in yourself and always strive for the best. Whether that is getting the best actor, the most talented cinematographer, or the best location for your story, you have to have the hunger to want it and be willing to do what it takes to get it. A filmmaker should never be satisfied with their work. There should always be something that they want to improve on.
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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.
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I never look a gift horse in the mouth. And I've been really, really lucky. I'm aware of that. And my career has been given to me by the people I've worked with, no question. The actors, the directors, the cinematographers, the writers, all of whom gave me the opportunity to work in the way that I have and I'm really grateful.
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I think people just see cinematography as being about photography and innovative shots and beautiful lighting. We all want our movies to look great visually, to be beguiling and enticing, but I think that what really defines a great cinematographer is one who loves story.
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I have a profound respect for cinematographers. That is my secret sauce. Like they are everything to me.
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Working with Robert, Robert [Elswit] is a storyteller. He's not a cinematographer, he's a storyteller. And to me, that's the graduation I hope to get to in my profession. That I'm not just an actor, I'm a storyteller. And I think that takes a long time in, when you have one job on a movie set. Makeup artists, actor, whatever. To graduate from just that to storyteller.
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Top Authors
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