Taylor Sheridan Quotes

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 don't study films particularly. I plan to direct, but I'm not watching film - I watch the entire film to see how the story goes, but I don't say, 'Oh, so he does a slow pan here, or he pulls here, watch the crane shot, or look at the composition,' because it's got to be my eye.

Hitchcock loved long convoluted shots that contained a lot of tracking and camera moves.

It's kind of dangerous to cut in the camera, but that's the only way I know how to direct.

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

As a director, you're looking for ways to tell the story with the whole image and not primarily dialogue.

In my films that I've directed, and my work in commercials and videos, I've rarely used handheld. It's just not something I'm drawn to, but I've seen it done very well.

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.

I think from an early age I was aware of how a camera can tell a story, how a movie camera can affect how the narrative is told.

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.

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.

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

Normally as a director, you do look at other films and things that are relevant. But with this film, it became impossible because I became so aware of the camera placement.

I've storyboarded for things other people have shot. So thinking in shots and orchestrating shots is not foreign to me at all.

I was always very interested in the storytelling decisions that went into directing. It just held this real allure for me. You know, if we're doing a scene at a dinner table, they weren't all shot the same. 'Why was the camera here for one moment and there for another?'

Film gives us the luxury of deciding where the viewpoint of the audience is, and by knowing that, we can very effectively design around what is actually seen on camera.

Direction is something that interests me. Even while shooting, I always have conversations with the director to get a better understanding of shooting technicalities.

I really enjoy blocking and staging. I think most of visual storytelling is camera placement and how to stage action around the camera.

Before I started to make films, I didn't give much thought to the way the characters were physically positioned in the story world.

The reason I like tracking shots has to do more with a sense of real time than anything else. In 'Gravity,' the use of tracking - of long extended takes - was partially because we wanted to film it like an IMAX-style Discovery Channel documentary. You don't have the luxury of cuts when you're in space. The camera is there; you're just observing.

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

A lot of directors in my experience are very receptive. They see what you do first, and then they want to find a place to put the camera, and they tweak you here and there.

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

I've directed a fair amount of television series - so I'm always trying to learn new things. One episode was all hand-held and I'm trying to get better at when you should do things and when you should just shut up and watch what the people are saying.

I've always had the utmost respect and awe of what the lens can do and what a director can do with just a camera move.