Rajiv Menon Quotes

I think every movie is its own little world, and a director certainly sets the tone.

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 use film in the way that the great auteurs do. I use film, the camera, to record as effectively and as perceptive as I am able what I want to say through the actors.

At the end of the day, filmmaking is all about telling stories, and I'm just doing my part.

I felt film is art and there are people that constructed that art - and that made me want to be a filmmaker.

I just want to make a beautiful film. I've had it in my head for so long, so I want to try. Every now and again I get scared. And that's not really how I operate in songwriting or as Sia the artist, the singer. I don't operate from a place of fear. But this is such a new area for me. I still have some insecurity. So, like, once a week I get washed from the top of my skull down to my toes with this vomitous feeling of fear. I think, "Just don't do it. You don't have to do it. You're already a singer and a songwriter. Really, you don't have to make a movie.".

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 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.

I wanted to write and direct movies and not be forced to adapt them from a bestselling book.

There are some scenes that work beautifully in a moving, sweeping master, which is how I like to work.

So many directors say nothing beautifully, and so many others say great and profound things but have no idea how to read a light meter or arrange a shot.

I like to give dimension to shots inside action scenes. It's demanding because you have to rehearse a lot of things happening at the same time and frame all those things in a shot. But I feel like when you accomplish that then you've got a cool action scene.

It's not a film-maker's job to explain his technique, but to tell his story the best way he can.

I always saw photography as a way to get to film.

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

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.

I really got into filmmaking through photography.

When a scene is being shot, it is very difficult to know what one wants it to say, and even if one does know, there is always a difference between what one has in mind and the result on film.

I was never one for multi-cameras; my approach was always... I always considered there was only one place to be to do a shot.

You ought to have a perspective when you're making a film.

A shot is only as every as good as how well it tells the story.

The film of tomorrow will not be directed by civil servants of the camera, but by artists for whom shooting a film constitutes a wonderful and thrilling adventure.

When you create a movie, you create something in your image.

I also know what looks good before the camera, how to move the camera, and how to get a story on the screen.

I feel every shot, every camera move, every frame, and the way you frame something and the choice of lens, I see all those things are really important on every shot.