Valeria Golino Quotes

The visual architecture of 'Biutiful' is the most sophisticated of all the films I have directed.

I love telling stories with images. But I think there's more to just saying a movie is great visually.

I don't have a style. I've never thought of myself as a stylist like the visual stylists I admire enormously - Adrian Lyne, Ridley Scott, Alan Parker - in which every shot has a great idea in them.

We do not need a text-based cinema... we need an image-based cinema.

Establishing mood through pictorial means is the director Ridley Scott's most notable talent. There may be no working director more accomplished at wringing texture out of the color blue than the prodigious and now prolific Mr. Scott; you'd swear that with his dazzling washes of blues and sand tones, he was inventing additional hues on the spot.

We're really interested in more visual storytelling, figuring out a way to blend our level of observation with a bigger visual scope.

The movies that influenced me were movies that told their stories through pictures more than words.

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

Of course I want my films to look really good, but every single element is chosen for a reason. It's telling something in the story.

My photography changed from being more documentary-like to arranging things more, and that came into being partly because I started doing music videos, and I incorporated some things from the music videos into my photography again, by arranging things more.

I'm a big fan of film for one reason: because it is visual.

A photograph is always invisible, it is not it that we see.

The art of motion pictures is pictorial and language comes a distant second.

When I work on a book, I usually start with a question. And I don't sit around and go 'I need to write a book. What's a good question?' It will be a question that's just clanging around in my head. So for 'What It Is,' it was this idea of 'What is an image?'

For me, the perfect film has no dialogue at all. It's purely a visual, emotional, visceral kind of experience. And I think one can create wonderful depth and meaning and communication without using words. I started out as an illustrator and a cartoonist and caricature artist, so for me the visual is primary.

The funny thing is that I almost find it more difficult now to take a still picture than to be behind a moving camera. I'm just so much more inspired and comfortable and confident when I have that whole operation going. I feel more connected. Snapping a moment doesn't seem relevant to me anymore.

Whereas with Sirk, everything is always filmed. No matter what the script, he's always a real director.

In Hitchcock's eyes the movement was dramatic, not the acting. When he wanted the audience to be moved, he moved the camera. He was a subtle human being, and he was also the best director I have ever worked with.

I love it when television is shot in a cinematic way and I think to aspire to that is no bad thing.

I'm personally more struck by visual things more than musical.

I've been obsessed with this kind of visual storytelling for quite a while, and I try to create material that allows me to explore it.

A picture is worth a thousand words.

A film is never really good unless the camera is an eye in the head of a poet.

I've often been accused of, 'Oh the movies looked good but there's no story,' but I disagree with that in theory, and '9' is a perfect example for me because the feel, the texture, and the look of that world, and those characters, is the story. That's a major component of why you feel the way you do when you're watching it.

I write really visually. In my head, I'm constantly picturing things as I'm writing, so for me, videos are such an expressive part of my job.