Ari Aster Quotes

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 have a great little camera, and I had a theory that if the story is interesting, it doesn't matter what medium you shoot it on. You just have to make a good film.

The director is the only person on the set who has seen the film. Your job as a director is to show up every day and know where everything will fit into the film.

When I am shooting a film I never think of how I want to shoot something; I simply shoot it.

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.

I know what to do with the camera because I see the giant in the camera when I'm operating it live on the set.

It was important on The Shipping News to have my house far enough away from each location so I had this time in the morning to think about my shots and still remain open to surprises once I got to the set.

I really enjoy being behind the camera. A ton of projects I've done that are my most favorite projects would be where I actually executive produce and I'm behind the camera.

A movie that I'm involved with and have a lot of love for, which is 'On The Road,' does use a lot of handheld. It can be done beautifully. I'm proud of that. It's a very beautiful movie.

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 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've directed a fair amount of television series - so I'm always trying to learn new things. One episode was all hand-held and I'm trying to get better at when you should do things and when you should just shut up and watch what the people are saying.

In the past I've worked with directors who saw very much their scene in their head and knew exactly how they were going to cut it.

You don't want to be the guy whose back's to the camera in the emotional part of the movie. So, you have to be aware of the camera movement and what the camera's doing.

Before we start filming, I have a strong idea of the look and the feel that I want to create, and I'm happy to explore any means that will help me achieve that.

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

I may even show up behind the camera. I love to put things together; I love to give direction. I have a great eye for pace.

The camera must point at the exact spot the audience wishes to look at any given moment. To find that spot is absurdly easy: you only have to remember where you were looking at the time the scene was made.

You talk about what a director, he was smart. He said, Turn the camera on!

I film quite a bit of footage, then edit. Changes before your eyes, things you can do and things you can't. My attitude is always 'let it keep rolling.'

When you're working with film, you can only shoot one angle at a time, and then everything has to stop, and you re-light it and shoot everything else from the opposite side, so it's really important that you stick exactly to what's written.

I see what's behind everything the director wants to do.

I love directing scenes that I'm not in because suddenly I really feel like a filmmaker which is a different thing.

I was never one for multi-cameras; my approach was always... I always considered there was only one place to be to do a shot.

When you shoot a movie, the camera is always taking, taking, taking and not giving anything back.