Morgan Freeman Quotes

Any time you talk about the look of the film, it's not just the director and the director of photography. You have to include the costume designer and the production designer.

I find that with period pieces, you're sort of able to really take advantage of what's around you because prop-wise, wardrobe-wise and location-wise, it's all so specific due to that time.

My directors of photography light my films, but the colours of the sets, furnishings, clothes, hairstyles - that's me. Everything that's in front of the camera, I bring you.

When I was in pre-production for Trees Lounge, I was hearing the cinematographer talking with the production designer about colours and this and that, and feeling like I was losing control.

Of course, it's wonderful to film any period piece - but especially 'Foyle's War' because the art direction is so imaginative and yet at the same time so real. You can open a drawer on set, and even though the camera never sees what's inside, it'll be filled with genuine 1940s documents.

When working on a period, it is the finer details that evoke imagery that helps in cinematic adaptations.

On the speech day, the production designer, who has a lot of say in things, and sometimes I didn't agree with him but I had to do what I was told, wanted the speech day to be all in neutral colours for the women, which was a good thing.

Music is where I have the most creative freedom, but I love producing. To me, that's kind of where all the action is. You get a chance to have your hands in every aspect of a film. From picking a director, sometimes picking a writer, to the actors, the wardrobe, set design, editing, music, and marketing.

When I started producing, it was George Abbott directing and he would let me do the scenery. He just wanted to know where the doors were - the entrances, the exits; the tables, the props - and then I would hire the designer. I took charge of the visuals - scenery and costumes and so on. And, the shows looked wonderful.

You're following your track, the story, your only plan, your map for the audience, and all the other stuff is, like, the fun stuff: the costumes, the locations, the set-dressing and the actors. They can all be variable as you like if you stick - however roughly - to the path.

My wife Victoria Harwood was art director on 'Far North,' and she had designed my student film, 'The Sheep Thief.'

Every time you make a film, you create a world. You make decisions about sets and costumes, and you create a universe connected to reality, but not reality itself.

I watched a couple of really bad directors work, and I saw how they completely botched it up and missed the visual opportunities of the scene when we had put things in front of them as opportunities. Set pieces, props and so on.

I wanted to be a set designer when I was young.

I enjoy setting the scene and coming up with interesting frames. 'True Detective' was a very hands-on set.

As an actor, you see a sliver of how the show is made, but to see the actual writing process and the re-writing process and the casting process and art direction and set design - all of this is happening in a very intense period.

You don't really have to dress a ton of actors. You don't really have to spend a bunch of money lining up extras to look the time period.

We are actors who show up for work in our sloppy gear, and we've got this extraordinary tailor. It's someone else who's done the design; someone else who's cut the suit; someone else who's measured it. Basically, your job is to just wear it.

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.

A period film is a gift for a cinematographer.

There's some projects you're - where you're worrying that the continuity isn't right because people aren't watching after your hair or wardrobe or props, or you're not sure you're getting shot at the right angle.

It's always a challenge to shoot a period film and not have it look like you hit the tea stain button in post.

I loved all the wardrobe choices that were made on 'Gotham.' I feel like I always looked fantastic, very streamlined.

The truth is James Cameron can do every other job. I'm talking about every single department, from art direction to props to wardrobe to cameras, he knows more than everyone doing the job. But he can't act. And therefore he is in thrall of actors.

Being movie director you've got the art department, you've got the actors, you've got the camera department, you've got make-up and hair, and props. You've got your finger in all these pies, and you're making sure that everything cooks at the right temperature.