Gia Coppola Quotes

There are some scenes that work beautifully in a moving, sweeping master, which is how I like to work.

I'm not wild about hand-held shots.

I'm always secretly the most pleased when a show just really, really looks good and when my camera guys are really happy with the images they got.

If you shoot with a billion cameras, then there's no perspective. You want to use one shot at a time, so it's better to discover what that is before you shoot, rather than trying to make something in the cutting room, and then it just becomes generic.

I don't like to move the camera that much anyway.

Pictures are much harder to do than the theater... You're at the mercy of the camera angles and the piecemeal technique.

I love staging action and wide-shots, not necessarily going to close-ups.

Nowadays you don't get to see composition in a movie because nobody ever keeps the camera still long enough to see it. Actors don't have the thrill and the power of working with space.

If I have to point to something specific with the way I move my camera, I love to do it with a wide lens. I like to show you as much of the space as I can, even if I'm following a character.

Movies are a voyeuristic experience. You have to make the audience feel like they are peeking through a keyhole. I think of myself as the audience. Then I use light, framing, and motion to create a focal point.

I do like being in front of the camera more and more. Having experience behind it has taught me about lighting and angles, how to move, and what looks good and what doesn't.

Honestly, if I could shoot everything in 1:33, I would.

For me, there's far too many close-ups in film. They're a television technique.

I'm a visual filmmaker so the camera is a big part of my storytelling tool and it's something that I really rely on to tell a scene or create the suspense that I need and create the emotion of a scene or a sequence.

But steady-cams are very different than hand-helds, because hand-held gives you that verite feel.

Visually, I want to try everything. But I believe that every shot of my films really expresses what I think about the story and the character. The most important thing is the story, not the images.

I think one of the things that will really surprise people about 'See No Evil 2' is the fact that its so beautifully shot. It's really a pretty movie.

Cinematography is so much about instinct and intuition - you want the same range of experience going into behind the camera as what you see in front of it. Your life experience will come through the lens.

Usually, if you notice good cinematography, then the cinematographer's failing. I try to make light feel like it's always motivated and natural in some way and hope that the lighting goes unnoticed.

Making a movie is universal. Directing a movie is universal; it's a universal language.

Film gives us the luxury of deciding where the viewpoint of the audience is, and by knowing that, we can very effectively design around what is actually seen on camera.

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.

I don't believe in one slow panning-shot to show a place. It should unfurl in the story itself.

I really enjoy blocking and staging. I think most of visual storytelling is camera placement and how to stage action around the camera.

Having been a cameraman, I think about, 'Well, if this was real, how would this be shot?' I try to inject as much realism as much as possible.