Sylvia Plath Quotes

There's one thing which I hate about color films... people who use up a lot of their despairing producer's money by working in the laboratory to bring out the dominant hues, or to make color films where there isn't any color.

A period film is a gift for a cinematographer.

With Technicolor restorations, it's about getting the color right.

I started 'Carol' as I almost always do, by looking at films from the time, and they were less - they actually felt less relevant to me in terms of their bigness, although we do have some big '50s-type moments in 'Carol.'

If I want to make people moved or cry in a film, I figure out what the room looks like, what the people are wearing, what time of day it is, what the light is, how to photograph it, where to put the camera. It involves optics and costume design and set design and architecture.

If you can make a color show or movie seem like it's in black-and-white, then you've done a really good job.

Color correction is one of my things.

I decided that I have certain taste in cinema and I will take it forward. I know there is an audience for such cinema.

My father feels that Kammula garu has done magic. At home, he is the best critic. My mother and sister kind of like everything that I do.

I turned my hand to costume design a few years ago when I created the outfits for 'This Is the Sea,' with Richard Harris and Samantha Morton. It's a very different discipline to being a fashion designer, though - you have to rein in your own vision and work to a tight brief.

With a lot of these social realist films, the first thing you do is drain the color.

I feel music-making is more like a psychological game; each film has its own colour that needs to be identified and addressed.

One of the color combos that I really love is the tones of technicolor, which older movies would have, these tones of blue and red in them.

I love period drama as much as the next person, but there's a tendency to let all of the costume get in the way of the people.

'Defying Gravity' is a big, theatrical, grand gesture. In film, how do you match that?

I'm really into color. I love polka dots, rainbows, any pattern.

I think that the line between television and features started to blur a couple years ago. The standards started to become the same, which is that the idea had to be very loud. The show didn't have to be loud; the idea had to be loud. It had to cut through the clutter.

I hate the feeling when I'm overseas, away from Australia, that I'm trapped, blocked by an ocean from getting to the people I love. That gives me anxiety.

Governments move armies, but only individuals can move hearts. And with every act of love that emanates from any of us, we are activating miracles, adding to a spiritual ocean that in time will purify our planet of all vestiges of fear. Love alone can triumph over hate, and if we give it the chance, it will.

I hate videos. I'm meticulous on everything from cover art, fonts, productions, mixing. But when it comes to videos, I just feel so defeated.

[On Doctor Strange] just from costumes to everything was just so well done, so beautifully thought through and well-crafted. And so - , and they didn't even make me pretend that much with green screen.

We can no longer afford to worship the God of hate or bow before the altar of retaliation. The oceans of history are made turbulent by the ever-rising tides of hate. History is cluttered with the wreckage of nations and individuals that pursued this self-defeating path of hate. Love is the key to the solution of the problems of the world.

I imagine Johnny Mathis hates Bin Laden as much as I do, but could Johnny agree Bin Laden had a better speechwriter than Bush? "Axis of Evil"? Come on. "A swimmer in the ocean does not fear the rain" is much more powerful propaganda. Poetic, even.

I realized early on that artifice attracted me to an image more than any other quality - I mean artifice in the sense of staging and heightened color and exaggerated lighting, not a surreal or fictive moment... I think the lighting and feeling of Cinemascope, the movies I saw as a kid, always stayed with me as a kind of glorious vision of reality.

I don't hate it here," she said automatically. Surprising herself, she realized that as much as she'd been trying to convince herself otherwise, she was telling the truth. "It's just that I don't belong here." He gave her a meloncholy smile. "If it's any consolation, when I was growing up, I didn't feel like I belonged here, either. I dreamed about going to New York. But it's strange, because when I finally escaped this place, I ended up missing it more than I thought I would. There's something about the ocean that just calls to me.