Cinematic Techniques Quotes

At the end of the day, the one commonality that both Hindi cinema and Hollywood share is that they are full of talented and inspirational people. Outside of this, there are many differences, from the scheduling and rehearsal to promotion and directing techniques.

There's a difference between watching a film and watching a bit of cinema and enjoying a film as a piece of cinema.

I'm certainly not a fan of conversion when you could shoot the movie in 3-D.

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.

I wanted to be in film. I wanted to be a film student, possibly be a director or cinematographer, not an actor. That was my goal. I didn't believe I had the physical beauty that I'd seen projected and advertised in movies, in theater. It just wasn't for me.

I started studying filmmakers, and I would say early on the ones that really inspired me the most were like the field magicians of music videos.

I've always been interested in the camera and the effects of it - that's what drew me to film in the first place.

You may not quite understand the cinematic tricks that go behind the making of a film, but as long as you feel it, I think that's the important thing.

Here's the thing about 'Cabin in the Woods.' I did virtually no research on this movie.

Polanski's 'Chinatown' is a film that I have purposefully and consciously imitated, but 'Vertigo' is one that has got into my bloodstream. Every time I reappraise things that I've done, the influence is there, time and time again.

I was always interested in creative writing growing up. From junior high on, I was writing short stories. I also grew up watching movies. My father would take me to everything. Most weeks, I could open the paper having seen every movie listed.

I want to be the person who eventually doesn't have to be in front of the camera. I can be behind the camera and really change things cinematically, and this is giving me an opportunity to do something behind the camera, which I really want to maximize.

Anything involving the camera, you're passionate about. Because there's no movies without it.

Pace is crucial. Fine writing isn't enough. Writing students can be great at producing a single page of well-crafted prose; what they sometimes lack is the ability to take the reader on a journey, with all the changes of terrain, speed and mood that a long journey involves. Again, I find that looking at films can help. Most novels will want to move close, linger, move back, move on, in pretty cinematic ways.

If you're not [Federico] Fellini you might make something very vulgar. Animation made it possible to maintain unity with all these different narratives.

I actually started as a model builder and quickly progressed into production design, which made sense because I could draw and paint. But I kept watching that guy over there who was moving the actors around and setting up the shots.

Maybe I should stay a good soldier of cinema.

The nature of motion capture is only going to work for certain films. It's not going to put any other type of movies out of business.

There was once a time when art history and film were basically the same medium, but art history is frozen in late-19th-century technology that has survived into the early 21st century.

It's hard not to want to become Ken Burns at times. I'm interested in being a Ken Burns who reaches that 17-year-old who goes to the multiplex just to see a good story well-told. And if there's history in it, all the better.

I want to put everything I think I've learned about filmmaking and storytelling and put it to the test in other areas.

Every filmmaker's different, every filmmaker has a different approach.

I just - I kind of see it that way. I find the higher angles down. I do - look, you can go back to the staircase shots in "Third Man" or the staircase in "La Dolce Vita." So I just find that visual construction in a frame.

'Oppam' is more of a director's movie, especially because I play a visually-challenged hero in it. The character doesn't have a perspective, and so cameras aren't placed like how they are usually done in other movies. The angles and the way the scenes are captured are different.

I liked Guru Dutt, the way he used songs and the way he shot songs. He was a class apart.