Cinematic Aesthetic Quotes

David Mamet was great to work with. He was everything that I thought he would be as a director. He's incredibly articulate, an easy collaborator. Extraordinarily knowledgeable about film and writing.

When I started as a filmmaker, I never, ever imagined in a million years that I would be doing television because, at that time, TV was a very different medium.

I always want everything I do to be somewhat cinematic. I don't want to be the rapper that'll just post up and shoot a video anywhere with no real meaning to it.

I was a weird kid. It wasn't until I saw 'Aguirre: The Wrath of God' at 16 that my whole world changed. The obsession with that was equal to the obsession with writing.

Making the 'Sulfur' video continued our quest to make a video different and visually stimulating.

You need these experiences. Just know that sometimes, the director has a specific look in mind.

I believe that the director is really the soul. It is a collaborative effort, but the director is the one who needs to have that vision. It could be a great script, but it starts from there. You need to have good material, at least, but if you don't have someone with vision, it's just words.

It's deliberate that a lot of my films have been period pieces.

Do you imagine Sergio Leone with a philosophy? Come on! He was a primitive of movies, a great director on set.

I feel like directing is an innate talent.

I have always believed Chandra Barot is a very talented director.

I would love to work with Tim Burton. I think we would be very good together.

I adore Stanley Kubrick, all of his films were different, not just in subject but tonally.

I don't consider myself to be particularly gifted in the way that other filmmakers are gifted.

When I started out, I was very vociferously against theatre or what I saw theatre as being, so I tried to make my plays the opposite of that - something a bit more cinematic. I'm a film kid, so I'll never have the same love of theatre as I do of movies. It's just the way I was brought up.

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

I think Chris Weitz is an amazing director, and his sensibility - I wouldn't even know how to articulate it - it's just, he's a very sensitive, interesting guy.

When a lot of people watch these Victorian-era shows, they're in love with the costumes, the romance, the whole sweep of it all. But there is nothing nostalgic about 'The Knick' at all.

If your director knows what he wants on screen, it makes things easier.

It's so easy for shows to be gritty and handheld and shaky and really tight in people's faces.

There's no mistaking the fact that some of the best longform fiction out there now is in American television. 'The Wire' and 'Deadwood' and 'The Sopranos.'

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

I think a season of 'Atlanta' bounces back between classic sitcom structure and genre movies.

For 'Chungking Express,' the way we shot the film was all handheld and with all this existing light, and that became very popular. Everybody thought it was cool.

When you're doing a single-camera show, it's more buying into a level of reality. I think a sitcom, a four-camera show, doesn't require that so much. I think with a film show, you just need the characters to grow.