Words matter. These are the best Cinematographer Quotes from famous people such as Reed Morano, Patricia Riggen, Steve Buscemi, Conrad Hall, Ruben Fleischer, and they’re great for sharing with your friends.
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.
It’s a very tricky relationship, the cinematographer and the director as a woman.
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.
But at heart, I am more than a cinematographer.
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.
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.’
There’s always the temptation, as a cinematographer, to make the shot look as perfect as possible.
Yes, my uncle wanted me to be a cinematographer and he was disappointed when I gave up that dream to become an actress.
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.
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!
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.
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.
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.
My main goal was to be a cinematographer. I was making short films, and the plan was to keep uploading them on Twitter and build a fanbase there. One day, I just started making music for fun. When I made ‘Dat $tick,’ it blew up, and I saw the potential in that.
I thought of learning cinematography, so I assisted a cinematographer for an ad.
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.
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.
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.
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.
Back-light is the cinematographer’s friend.
Every cinematographer I worked with had his own way of solving problems.
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.
I have a lot of influences. I like to sit down with the cinematographer a month before, and we’ll watch pieces of 20 or 30 movies. You’re basically the sum of all the experiences you’ve ever had, and they’re sort of shaken up in you and reproduced in the things you create, and that includes seeing movies.
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.
‘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.
