Nicolas Roeg Quotes

And Later I Thought, I Can't Think How Anyone Can Become a Director Without Learning the Craft of Cinematography.

You have to give directors and cinematographers a word blueprint for visuals, but I had to learn that from experience.

The way you present a stunt is tied in to the way you photograph it, so you're hanging out with the cinematographer.

I don't think you can be a great director without knowing a lot about editing.

I like to work, and I worked for years as a camera person before I directed.

The cinematographer's basically translating the director's vision into imagery.

As a DP who mostly does features, I'm normally in a director's pocket, 24/7.

I am very much open to doing cinematography for any talented filmmaker, if the script is good.

The best education in film is to make one

In the old days, before there was such a thing as film schools, directors learned the camera by watching other directors, and learning from their own dailies, and listening to the cameraman, and seeing what would work. Some of those guys could cut their movies in their head.

Directing has completely changed the way I write and watch films.

Some directors don't get involved in the cinematography and are just about story, but I'm definitely more tactile than that in terms of my involvement in the minutiae.

What I'm still grappling with and learning how to do is to be looking and thinking cinematically, having come from television.

I went to USC and tried to learn about the other side of the camera a little bit.

When you make a movie, you do it so piecemeal. You're doing it, not only scene by scene, out of order, but shot by shot, line by line. And there's this idea that the director has the whole thing in his or her head and they're going to somehow weave it all together in the end.

If you shoot with a billion cameras, then there's no perspective. You want to use one shot at a time, so it's better to discover what that is before you shoot, rather than trying to make something in the cutting room, and then it just becomes generic.

The way I work with my cinematographer is not based on general principles, but the ideas are triggered by the locations where we shoot.

You talk about what a director, he was smart. He said, Turn the camera on!

We had a script that was really solid and we knew how we were going to shoot and how the energy of it was going to go. So it gave us a lot of freedom to use the camera as a character.

I was very glad later when I was directing that I wasn't in the hands of a cinematographer and hoping that he would do it well. I would know what he was doing, and we could discuss how that scene would look.

When you're working with film, you can only shoot one angle at a time, and then everything has to stop, and you re-light it and shoot everything else from the opposite side, so it's really important that you stick exactly to what's written.

All these directors who do different locations forget that one room can be shot from a million different angles and a million different ways. When I direct a movie, I'm going to use that.

I think directing is something I would really enjoy.

Everything about camera movement, about how film was made, shot architecture, and time management... I was horrible at all that.

The biggest difference for me was that I operated almost every frame on 'Mudbound,' and I didn't operate on 'Black Panther.'