David Farr Quotes

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.

Visual elements are, of course, the director's job.

My job is to kind of nudge them. Who said it, where, like, '90% of the job is casting,' so all I do is try to come to set and focus on getting all the best shots to cover the story; that's really it.

A director should be in a position where he is only directing. On the sets, he is only looking at the performances, thinking 'How I am going to shoot this?'

You have to give directors and cinematographers a word blueprint for visuals, but I had to learn that from experience.

As a filmmaker and film student, I think it's really interesting to hear what a director did and how they figured out how to do things.

I think you cannot make films without choosing everything.

As I began making my feature films, it was a great adventure. It was about constructing something I saw in my head or I had designed on storyboards and capturing that on film.

I don't study films particularly. I plan to direct, but I'm not watching film - I watch the entire film to see how the story goes, but I don't say, 'Oh, so he does a slow pan here, or he pulls here, watch the crane shot, or look at the composition,' because it's got to be my eye.

Visually, I'm always considering shots and composition quite a lot, and I love putting art into films, and I do a lot of the art.

All my films have been larger-than-life. And since I've sat on almost all the scripts of the films I've produced, I do not compromise on aesthetics and visuals that could add to a scene.

The most creative phase of a film is in shooting, because structure is the defining element of that phase.

The experience of shooting a film is about the script, the captain of the ship who is the director, and the way they push their actors and teams to give their best. It's not about the language and the region.

I never think about it much, the visual aspect of it, until we start making the movie. I don't really think about it when we write. When we finish, and I start putting the film together, and we pick the locations, I do think about that a lot.

My directors of photography light my films, but the colours of the sets, furnishings, clothes, hairstyles - that's me. Everything that's in front of the camera, I bring you.

I think that's the key to being a director: to be able to get the shot and move on quickly.

I really love diving in, head first, with directing and not having to worry about hair, makeup or lines.

Film work can be very interesting, but it also can be awfully boring because who creates the film? The actors? No. It is the director. It's his piece of work.

It's more interesting because you get to research the history of the period, and all the different aesthetic elements that make a film, particularly this film, so stunning.

Making a movie and not directing the little moments is like drinking a soda and leaving the little slurp puddle for someone else.

You ought to have a perspective when you're making a film.

I'm a filmmaker, but my working procedures are different. All my basic structuring is done during the filming. You know, how long I keep the shot, the exposure or the speed - slower or faster, etc. That's structuring. And then there is a second stage of structuring that comes later when I begin to put those pieces together.

After defining an idea of what I want to achieve, through a series of storyboard images, I'll go to the ends of the earth to create it, whether that involves obscure camera lenses or the latest electronic techniques.

I also know what looks good before the camera, how to move the camera, and how to get a story on the screen.

My interest in filmmaking was always very much the visuals and images.