Neil Burger Quotes

I began to see cinema as the perfect combination of so many wonderful art forms - painting, photography, music, dance, theater.

In L.A., cinema and television might be seen as more interesting places for architecture than ever before.

Directing is the ultimate way to bring together all the art forms I've been involved with over the years.

I'm still really into set design and construction when I do films. I notice that stuff.

For me, I am still very happy to be able to do stage design as it's an opportunity to express the extreme.

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.

I don't like to watch playback. But being on the set, watching the way the camera is being moved and the way the light is being used, you do get an idea of it.

I worked out a rather deep-dish theory defining the theater as a form of architecture rather than a form of literature.

I didn't really know how to make a film when I made 'Control'. I had to create my own language, just as I did when I started taking photographs. I never studied either one.

I cannot draw to save my life, and I'm not a big art scholar, but I worked with many designers throughout my career - in theater, in dance, costume designers, set designers, and I have a lot of artist friends and I do photography, and I think it's kind of in my life.

I had a background in theater as an actor, and then a photographer, and then as an experimental filmmaker and editor.

I've heard it said many times, 'Let's work on the look of the film,' but that doesn't work with me.

Architecture has a strong link with the movies in terms of time progression, sequencing, framing, all of that.

I made the intentional choice to step behind the camera.

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 always wanted to be a filmmaker and became one through sheer single-mindedness. I came to filmmaking from a background in graphic design. I went to film school at Newcastle Polytechnic.

I think we've shot scenes from every angle directors can think of to make it look like different villages. I've directed a couple shows on that set and believe me, it's impossible not to duplicate some camera angles.

As I began making my feature films, it was a great adventure. It was about constructing something I saw in my head or I had designed on storyboards and capturing that on film.

All my film ideas and subjects have come from photography.

Different people have different styles, but there is an opportunity as a director to be a writer in every moment, with every visual cue and every piece of production design. Everything is a decision, and everything can be obsessed over.

I look at directing as a sporting event. It's a race, a marathon. It's great when it clicks, which is why I push my crews so hard so we can excel.

The only job that was ever of interest to me other than filmmaking is architecture.

As a filmmaker, you realize that places have character based on their history as much as a face does or an actor does.

I was a directing student and a production design student at Carnegie Mellon. I went in as a production design student and became a directing student.

I thought I would draw or paint or be an architect. I was always drawing portraits. My mom put me in art classes in the summer.