Ileana D'Cruz Quotes

While it's easy to sit back and cherry pick bad visual effects and blame the industry for making movies the way they are, you're really not seeing the whole picture.

Every movie presents unusual challenges, and I like solving the problems with a combination of artwork and engineering.

Most of music videos were short films - they had dialogue, action sequences. I shot with cranes and helicopters. I wanted to created cinema-like moments.

A lot of things in films are cheated with the use of camera tricks, so while it may feel unnatural to do, when you look at the result, you realise that it is right.

I really like photography, and I'd like to do more of that kind of thing. If I had to choose a different job within the industry and do it well, I would love to do cinematography.

The first set I remember was 'Ghostbusters.' It was a scene in which the street erupted. I remember even at seven years old thinking, 'Wow, if you direct a movie, you can break the streets of New York.'

The size of a studio film lets you see technology in a way that you wouldn't on an independent film, like the gadgets and the angles and all that.

As a stunt guy, you become a mini-director. You're talking to actors about performance.

One of the main reasons I am so drawn to Hitchcock is that he planned his shots way in advance on story-boards, which he designed like classic paintings (he was an art connoisseur). It's why he found shooting on set boring - because he had already composed the film in his head.

I think the Matrix effect is over-used and I don't do it anymore.

If I made a musical in the beginning of my career, it would have been crane shots and tracking shots and people coming out of cakes and whatever, but these techniques are something that I've left behind me.

Ever since 'Star Wars,' there was a rash of how a movie was made. I remember that as a kid. I never really understood how movies were made until that movie, because it was such a technical accomplishment. Since then, you've seen more and more and more, for all different kinds of films, about what goes into the process.

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.

I really got into filmmaking through photography.

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.

I'm one of the few directors that actually shoots a lot in camera.

Even for the most difficult scenes, and there are difficult scenes in the film, and because Michael Haneke is such a great film-maker - I think a great film-maker is not only being inspired, but how to do it, how to make it as real as possible, knowing that it's not real.

Making the unbelievable believable is different on a set with 'Fantastic Four,' where it's like, 'Wind machines! Because the airship is coming in and you're pretending to be afraid!'

I am interested in seeing if you can create on film pieces that feel contemporary and urgent.

If you know how to shoot a scene, then you know how to shoot an action scene. If you've seen an action movie, and you watched it, and you paid attention to how scenes are constructed and where the camera is and how the camera moves, then you know how to do it.

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

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.

The most creative director I have worked with is Mani Ratnam.

Hitchcock loved long convoluted shots that contained a lot of tracking and camera moves.

I think as storytelling has changed, you know, it's kind of turned into kind of hyper-reality movies.