Sarah Lancashire 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.

Directing is a tremendous art.

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

I think I'm drawn to films more as a director with a directorial mind even as an actor. I make movies to make the films, not to act.

Directing is creating a whole. You're able to combine different elements and create a film that is unique and true to your vision.

Directing was easy for me because I was a writer director and did all my directing when I wrote the screenplay.

People say I pay too much attention to the look of a movie but for God's sake, I'm not producing a Radio 4 Play for Today, I'm making a movie that people are going to look at.

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.

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

Give me a good script, and I'll be a hundred times better as a director.

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

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

I love telling stories. But I believe that nobody could teach you to direct a movie.

Visually, I want to try everything. But I believe that every shot of my films really expresses what I think about the story and the character. The most important thing is the story, not the images.

I think one of the things that will really surprise people about 'See No Evil 2' is the fact that its so beautifully shot. It's really a pretty movie.

My job is to kind of nudge them. Who said it, where, like, '90% of the job is casting,' so all I do is try to come to set and focus on getting all the best shots to cover the story; that's really it.

As a director, I start with the visual.

In a nutshell, directing 'The Gift' was all about understanding how the complex machine that is 'Game of Thrones' works.

I've learned that I've just barely scratched the surface of knowledge of the profession, and I have deep envy of and appreciation for filmmakers who really, truly understand the physics, the design of filmmaking. They can do story and color and composition and geometry and math and science all at once.

I don't know anything about directing, but if you love actors, know your story and hire a great company, then anyone can direct a film.

I'm a natural behind the camera... My attentions are more toward behind the scenes, more toward creating, producing, and directing what's going on here... When I finally do pop in front of the lens, I'm genuinely glad and relieved to be there.

I'm a visual filmmaker so the camera is a big part of my storytelling tool and it's something that I really rely on to tell a scene or create the suspense that I need and create the emotion of a scene or a sequence.

In terms of how [Allied] looks, it's fantastic and much better than I had hoped because it's so lush and so beautifully executed.

The thing is, as a film director, you're essentially alone: You have to tell a story primarily through pictures, and only you know the film you see in your head.

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