Steve Buscemi Quotes

My directors of photography light my films, but the colours of the sets, furnishings, clothes, hairstyles - that's me. Everything that's in front of the camera, I bring you.

All my films have been larger-than-life. And since I've sat on almost all the scripts of the films I've produced, I do not compromise on aesthetics and visuals that could add to a scene.

Any time you talk about the look of the film, it's not just the director and the director of photography. You have to include the costume designer and the production designer.

On the speech day, the production designer, who has a lot of say in things, and sometimes I didn't agree with him but I had to do what I was told, wanted the speech day to be all in neutral colours for the women, which was a good thing.

My biggest role as director on the film is keeping a sense of the overview - how to cast the movie and shoot it in such a way that it will cut together. And how to design the style and tone.

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.

I have never been sorry to see my sets being struck, provided they are well photographed. They're not works of art but part of making a film.

Every prop, every shot, every pearl that rolled across the floor was exactly how I wanted it to be.

It's more interesting because you get to research the history of the period, and all the different aesthetic elements that make a film, particularly this film, so stunning.

I've heard it said many times, 'Let's work on the look of the film,' but that doesn't work with me.

For so many years, I've been an actor acting in other people's movies, and in 'Unstoppable,' I'm producing it, and I have an opportunity to create some of that excitement with style and form and different color templates and things like that. So, as an artist, it's really exciting.

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

In cinema, the leading player is the director.

Visual elements are, of course, the director's job.

I enjoy setting the scene and coming up with interesting frames. 'True Detective' was a very hands-on set.

Occasionally, I'll direct if there's something I feel strongly about. Having done it has whetted my appetite to do it again, but I don't feel an internal pressure to direct. It certainly will make me a better producer, because I'm more empathetic; I really appreciate now what the director is going through every day.

Great art direction is NOT the same thing as great film direction!

I definitely storyboard, but I only start once I have cast and location. I like to find the world first.

A director should be in a position where he is only directing. On the sets, he is only looking at the performances, thinking 'How I am going to shoot this?'

Typically, whenever you're envisioning how you're going to shoot something, you have a location or a set that you're going to build, and it's going to be built to specifications.

As a director, I start with the visual.

Being movie director you've got the art department, you've got the actors, you've got the camera department, you've got make-up and hair, and props. You've got your finger in all these pies, and you're making sure that everything cooks at the right temperature.

I thought of myself as part of the general filmmaking effort. And as my scope broadened, I began to think about directing. I wanted to be the guy who got to say whether the dress is red or blue.

[Martin] Scorsese says one of the great things he loves about it is how Mark can't get the right shot and he's killing people because he can't get the right shot. It's an example of what film-makers are like.

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.