Orson Welles Quotes

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

What I like to do with every film is to bring a form, like a cinematographic proposal. If you watch 'S21,' it's a form; 'Duch, Master of the Gates of Hell' is a different proposal.

In all my films, I have tried a different look.

Agnes Varda changed my view of cinema; she directs from an artistic point of view, and a film is most of all the expression of an artistic director. I learnt to enter the world and the imagination of a director.

I have a great little camera, and I had a theory that if the story is interesting, it doesn't matter what medium you shoot it on. You just have to make a good film.

The beauty of a Tarantino film is that the visuals match the rhythm of the words. That's his goal. And that's my goal.

My films start with images, a few images and a few feelings, and I try to edit them together to see the correspondence between these images and these feelings.

I don't have a style. I've never thought of myself as a stylist like the visual stylists I admire enormously - Adrian Lyne, Ridley Scott, Alan Parker - in which every shot has a great idea in them.

I don't think there is a movie that I've been on that I wasn't sure I could direct it better. But certainly also, as a director of photography, I have to serve the movie in whatever way I can as a filmmaker.

Film has its own innate poetry.

I see my work behind the camera as the actualization of a poem. I like to linger on images, conveying things through stillness.

Joe Wright is incredible and I'm a huge admirer of his work in general, but specifically his aesthetics and poeticism.

There are particular images that I like. Allegro is composed of a series of still life photographs that has been put to speed. There is so much care that has gone into the composition of the cinematography.

I started out doing music videos and photography, and I always loved writing. Filmmaking seemed to be a good compilation of all these skills in a way that allowed me to tell a story 'greater than the sum of its parts.'

A movie that I'm involved with and have a lot of love for, which is 'On The Road,' does use a lot of handheld. It can be done beautifully. I'm proud of that. It's a very beautiful movie.

The movies that influenced me were movies that told their stories through pictures more than words.

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

Film is important; it can be more than reportage or a novel - it creates images people have never seen before, never imagined they'd see, maybe because they needed someone else to imagine them.

The great thing about having spent all this time on film sets is that I've been able to watch directors and how they work. I now know that this is what I want to do as well: to tell stories visually. But it's definitely my vision that I want to put across, nobody else's.

So I like to try to go back and develop pure visual storytelling. Because to me, it's one of the most exciting aspects of making movies and almost a lost art at this point.

My films are an extension of my poetry, using the white screen like the white page to be filled with images.

People who are good at film have a relationship with the camera.

When the director has a vision for a piece that I've never heard before, and they can back that up with visuals, and they talk a good game, I get really interested in the world that they're trying to create.

Whereas with Sirk, everything is always filmed. No matter what the script, he's always a real director.

In Hitchcock's eyes the movement was dramatic, not the acting. When he wanted the audience to be moved, he moved the camera. He was a subtle human being, and he was also the best director I have ever worked with.