Jeffrey Zeldman Quotes

I thought that it would be easier to learn that if I worked in motion pictures. So I went to work with one motion picture producer who was developing a color system. This didn't do to me much good. All I did was pick filters for the camera.

There could be no filmmaking without industrywide agreement on frame rates, lenses, and audio recording equipment.

First of all, in the old days, if you wanted to show someone getting shot on film, all you could do was place an effect in the original take. And if you wanted to brighten somebody's face and leave the rest of the room dark, that was a very expensive process.

I love having 30 shots of every scene.

By and large, the making of motion pictures is all about, 'Let's ratchet it up.' And I always think, 'We don't need to ratchet this up.' If you do, don't call it 'Captain Phillips' or 'The Maersk Alabama.' Call it something else, and then you have carte blanche to do anything, down to sea serpents and aliens.

Because I come from that old-school optics environment, I know stuff about depth of field and camera movement and things that are not necessarily a part of the curriculum for people who started on a box and have never done anything that wasn't on a box.

Of course, a movie is in constant flux.

But I suppose film is distinctive because of its nature, of its being able to cut through time with editing.

Motion picture making is a very, very involved affair. It is completely my baby. I'm a thorough professional. I plan films right from the conception of an idea to its final execution.

When you make an album, you have a team of musicians you work with; when you're a director and you're creating a motion picture, it's a much bigger animal.

In 'The Greatest Showman,' I'm back doing VFX myself, allowing me to craft exactly how something looks, one frame at a time.

When I first started in the industry, there were - this is prior to the era of computer graphics and all these digital tools - there were some pretty rigid, technologically imposed limitations about how you shoot things, because if you didn't shoot 'em the right way, you couldn't make the shot work.

When you do a freeze frame, you have the opportunity to find the exact shot that you want - no guessing.

Film is lies at twenty-four frames a second.

I do enjoy filming, but I do consider myself still to be a bit of a novice, and I learn a bit every time I do a film job, and I am very admiring of film actors.

I just love the process of filmmaking.

One needs to be super intelligent and have an above-average IQ to be able to work in movies.

I want to do movies with great stories. The content should be strong.

I always maintain that the film industry and film people across the globe are more or less the same.

My way into making movies - into making things is general - has been through performing.

I love every aspect of the creation of motion pictures and I guess I am committed to it for life.

Of all the things I've done in life, directing a motion picture is the most beautiful. It's the most exciting and the nearest than an interpretive craftsman, such as an actor can possibly get to being a creator.

Well, you're in a theater and it's 24 shots a second, your face, your body, your voice, and it's your craft, the way you earn your living, and it's indelible. It's not like writing a script - I write as well - I can't do another draft, it's done.

The cinema is truth 24 frames-per-second.

It's so many different elements to a film. Just learning the ins and outs and how the machine works.