Don Scardino Quotes

Making this movie was a great opportunity for me to explore high-definition. I'm glad I got to see what the challenges are, what makes it better. It works wonderfully.

It might sound odd, but I want to thank Michael Bay because he's been saying how important it is to show 3D with the right luminescence. And that's very important for this film, a lot of which was shot at night or with very low illumination.

I carry my own film guys with me now. People think that's a huge expense, but with technology like it is these days, it's not. You can film videos and everything with a Canon Mark II, and shoot a movie. They're doing it for next to nothing, by comparison. I can do ten videos for a project for the price of one mainstream video in the past.

I don't get tripped up in technology. I use technology as a tool. 'Oldboy' we shot Two Pro 35mm. For 'Da Blood of Jesus,' we shot digitally. We shot the new Sony F55. It's a 4K camera.

For the last 10 years, I've felt increasing pressure to stop shooting film and start shooting video, but I've never understood why. It's cheaper to work on film, it's far better looking, it's the technology that's been known and understood for a hundred years, and it's extremely reliable.

I discovered shooting and filmmaking around the time all of the software became affordable to anyone with a PC.

It would be naive to say that you could make a movie on film for the same price you can digitally.

I don't like movies that are shot on green screen much, you know. I mean, I know that's the thing to do, and I know that it's getting. I'll put it this way; David Lean would probably kill himself, you know, again if he knew that people were watching Lawrence of Arabia on a telephone.

I also make movies that can be seen on a small screen, as I shoot on digital video. Hopefully they can be seen small and can live like that.

I tried to film 'Leaves of Grass' in Oklahoma, but it was literally about a million dollars less to shoot in Louisiana.

There are many applications for which film is going to be better, for a very long time.

I know there's a great deal that Arnold Schwarzenegger could teach me about making movies. There's a great deal I could teach him about the fiscal reforms that are needed - desperately needed - to set California back in good order.

Once you change the technology - from a film camera to a video camera, or from an 8-mm camera to 16 mm - you change completely the content. With 8 mm, a leaf on a tree will be made up of maybe four grains. So it's very impressionistic, almost like Seurat. If you switch to 16 mm, the technology gives you hundreds of grains on that leaf.

Learning how to edit movies was a real breakthrough.

My two great loves when I'm shooting are working with great actors and composing images.

I'm of the opinion that the technology is in a place where there's really no excuse not to just make your movie.

You gotta understand, when moving images first started, people wanted sound, color, big screen and depth.

I learn so much from watching films like that with commentary and then when you get to hear another filmmaker talk about their films it's a really great experience.

Film is a very young art that is still evolving. Soon, we shall reach a balance between content and technology.

I love to play with the gadgets that come with film.

I feel a lot of films that are shot digitally, even low-budget independent films, they look super slick now. Because the technology is so good that they look too good.

Technology continues to bring us wondrous advances in filmmaking to improve how we view movies.

The real reason why people are going with digital is that it's extraordinarily mobile, and it's cheaper, and it has a great image, and you just can't beat it at night. It's pulling in variations of colors; it's pulling in lights from 40 miles away - a candle would be seen.

For behaviorist films, that's been much more useful - the change of technology - but for my kind of films, doing them on film is much better, because it's more beautiful.

The possibility of being as free with the camera as we are with the pen is a fantastic prospect for the creative life of the 21st century.