Jacinda Barrett Quotes

An action choreographer is kind of like a dance choreographer. You choreograph the moves and you let the director, cinematographer take into positioning their cameras.

A lot of directors in my experience are very receptive. They see what you do first, and then they want to find a place to put the camera, and they tweak you here and there.

I kind of want to learn how to direct TV. It's interesting.

I don't like to watch playback. But being on the set, watching the way the camera is being moved and the way the light is being used, you do get an idea of it.

I went to USC and tried to learn about the other side of the camera a little bit.

I'm not wild about hand-held shots.

I learned a lot about how to shoot and how to put together sequences.

The way I work with my cinematographer is not based on general principles, but the ideas are triggered by the locations where we shoot.

Whenever I arrive on a real location, I have to move around and work out what the best angles are going to be.

Everything about camera movement, about how film was made, shot architecture, and time management... I was horrible at all that.

I've picked up so much about the technical aspects of filmmaking and television.

We build camera rigs tailored specifically to the story we're trying to tell or the shot we're trying to capture.

A lot of male cinematographers stick a pillow to their stomachs so they have somewhere to rest their elbows while shooting.

I wouldn't necessarily recommend shooting a feature film on a still camera.

TV helped me understand camera angles, close-ups, master shots.

I like to work behind the camera.

I usually work in music videos, where we shoot, like, 10 to 12 setups and 60 shots or something.

A digital camera does have many advantages and I was a believer that digital video would be a big influence on film-making.

In the theater there are 1,500 cameras rolling at the same time - in the cinema, only one.

Some directors are interested in acting, and others are only interested in cranes and moving the camera.

I just bought a building in Los Angeles - on Sunset Boulevard. It's a building that was owned by Charlie Chaplin. It's going to be a sound- stage for videos; for full-scale productions.

I love the visual medium of film and TV. I love the science of it, working with the sound and the lighting and every aspect.

I like to work, and I worked for years as a camera person before I directed.

The cinematographer's basically translating the director's vision into imagery.

Kissing onscreen is very awkward because you have to worry about angles and you have to worry about where the camera is and you have to remember where your head was in this moment.