Camera Movement Quotes

We shot 'Breaking Bad' on film; we capture 'Better Call Saul' digitally. In the shooting of 'Breaking Bad,' we would have this steady, handheld, cinema verite sort of look, so we purposely went the opposite way with 'Better Call Saul' - locked in the cameras and made the movements smoother and more mechanical.

I think you can say a lot with the movement of your camera but you can also say a lot by keeping it still.

When I first moved from photography to filmmaking, I was worried about how big I had to become. I was one person, or maybe me and an assistant, and I had these small cameras, and maybe a flash.

I'm always secretly the most pleased when a show just really, really looks good and when my camera guys are really happy with the images they got.

Every cinematographer I worked with had his own way of solving problems.

I've made some films that were very much image based: 'Anna Karenina' and 'Pan,' for instance.

Movies are a voyeuristic experience. You have to make the audience feel like they are peeking through a keyhole. I think of myself as the audience. Then I use light, framing, and motion to create a focal point.

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

I'll reshoot a corridor 13 different ways, and you'll never recognise them.

Obviously, the cinematography of films is art, just as a still shot can be art. If I'm watching a Wes Anderson movie, the colour palettes alone, and the way they're painted, could be art. With music, you're a little bit limited, of course, because it's only audio.

I had seen 'Lock, Stock and Two Smoking Barrels' and I thought that was a different kind of film than I'd seen before, with that kind of editing and slick camera movements.

It's one of the things I love about my job: it's my job to help a director tell the story, to just be willing to help.

There's two aspects of film crafting that I'm very strict about, and that's how I move my camera and where I cut the film.

Film has to describe and show.

I don't think of myself as a director or writer. I think of myself as a filmmaker.

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.

I'm very heavily involved in the editorial post-production process, and the camera - it's just such a big part of my storytelling language. I like creating the tension; I like creating the emotion through the movement of my camera, or the lack of movement through my camera, depending on what fits the scene best.

I can't sit on my bum very long in a movie theater seat, and when I'm directing, I always want to move the camera or edit.

One of the main reasons I am so drawn to Hitchcock is that he planned his shots way in advance on story-boards, which he designed like classic paintings (he was an art connoisseur). It's why he found shooting on set boring - because he had already composed the film in his head.

I was saying as a joke the other day that I love film editing, I know how to cut a picture, I think I know how to shoot it, but I don't know how to light it. And I realize it's because I didn't grow up with light. I grew up in tenements.

I look at directing as a sporting event. It's a race, a marathon. It's great when it clicks, which is why I push my crews so hard so we can excel.

Shooting on film is great because it imparts discipline: What do you need to see so you're not finding it in the camera. When I'm shooting, I have the scene in mind, where I'm going to have certain lines. I learned to overlap and to shoot more than I think I need. That was the learning curve.

The film camera's ability to physically move through space, not zoom through space - every time we have a video camera the movement is through zoom; every time we have a film camera it is a physical movement.

I'm not a photographer, so I didn't get into F-stops or ND filters or background, foreground, cross-light, all that stuff. But I was interested in the camera and the lenses. That's the world that I'm moving in, in terms of acting and giving a performance.

I like to work behind the camera.