Tamra Davis Quotes

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

I think making a good film shot is joyful.

I really got into filmmaking through photography.

When you shoot a movie, the camera is always taking, taking, taking and not giving anything back.

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.

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

The thing is, as a film director, you're essentially alone: You have to tell a story primarily through pictures, and only you know the film you see in your head.

I'm in total awe of the technique of great film people. Because if you get your emotional life up to perfection by miracle on Take One, you better have a technique to keep doing it again and again and again.

I can still recall the thrill of shooting my first film.

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 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.

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

It's only the filmmaker. The script is really, really second. And there's a huge gap between filmmaker and script for me. I almost don't care about the story that they're telling; I really only care about who wants to tell it.

When I am shooting a film I never think of how I want to shoot something; I simply shoot it.

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.

I began to learn about the camera and the actors. That gave me a lot of the skills. At the same time, advertising gives you a lot of vices, for example, an obsession for a superficial look, but at the same time, it gives you the capacity to synthesize the story - tell a story in one minute.

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.

It's incredible to see the creativity, beauty and hardships people capture when filmmaking is opened up and shared with the world.

Film has to describe and show.

You know, when people talk about filmmaking and the techniques of filmmaking, we use them all the time in network television news in order to make our stories simpler, tighter and more understandable to the general public.

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

I still want to direct. That's my main love, and that comes from being obsessed with subtleties and people.

The filmmakers have a story they want to tell, and they go get the material they need for it. The film either exceeds or fails to meet up to their expectations or it's different.

At any filmmaking class, you learn the power of the visual medium and are always trying to minimise the words.