Visual Style 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.

Noir was a brainchild of the United States. And most of the creators of classic noir - novelists and screenwriters, directors and cameramen - were men. Women were their mysterious, sometimes villainous, always seductive objects of desire.

I'm extremely particular how my look should be in a film.

Visually, I'm always considering shots and composition quite a lot, and I love putting art into films, and I do a lot of the art.

'Notorious' is a masterwork. I can watch it every day.

I first saw Walter Hill's second film, 'The Driver,' as a teenager, late at night on the BBC, quite possibly sitting too close to the telly. Given that this 1978 slice of neo-noir takes place almost entirely in the dark streets of a deserted downtown L.A., it's really a perfect midnight movie.

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.

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.

I can't see any reason why a film shouldn't be stylized and visually beautiful. I don't think a beautiful set is pretentious.

I'm a huge Wes Anderson fan. I literally love every single film. He hasn't made a bad film; I've seen every single one. They've all been brilliant, from 'Bottle Rocket' up to 'Moonrise Kingdom,' they've all been wonderful.

Irvin Kershner, no matter what anyone says, has done some great work. 'Eyes of Laura Mars' is an incredible movie.

No matter how big or new they are, I always look for the intention of the filmmaker first. Their intention has to be in the right place.

We need people who are open to doing something with theme, something with a cartoonish twist.

Oh my God. Brian De Palma. I love him.

A vlog look is a very specific look, and it's basically a phone look.

If you look at 'Avatar,' could you imagine if you did 'Avatar' for 50 million dollars? It would be ridiculous! You would almost be getting laughs from the audience, unless you got a real indie director to do something incredibly stylised.

Our style, in one word, the Image guys, our approach to the page was bold.

I'm accused constantly of having 'no signature.' That's the big artistic demerit. You can't tell a Wyler film from another man's film just by looking at it.

Wes Anderson deserves an award for sheer persistence of vision.

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.

If an actor is going to be an action hero, do it in a Robert Rodriguez movie, because that guy is going to make you look like a million bucks.

I think every movie I've made after 'Indiana Jones,' I've tried to make every single movie as if it was made by a different director, because I'm very conscious of not wanting to impose a consistent style on subject matter that is not necessarily suited to that style. So I try to re-invent my own eye every time I tackle a new subject.

The New Look of Batman is more illustrative and realistic.

Looking back at 'Taxi Driver' or, really, any of the Martin Scorsese films, he really filmed New York City in a way that I saw New York City.

What I loved about the 1950s is that there is an aesthetic to even the average film. The way the camera is placed, the way characters move, the way you dressed the sets, the respect for craft and actors, I do miss that in today's films.