Sydney Pollack Quotes

That's one of the best things about the RED ONE - I can use all the best lenses that have been used in film forever.

I really enjoy behind the camera stuff and I'm a frustrated photographer myself and just love the camera. I love that side of it and that part of the filmmaking world and I enjoy developing things. It's an area that I'll continue to be more active in as time goes by.

I grew up on film sets but more around the process of making films. I saw a lot of the editing process and the writing process, which takes years. That really affected me growing up, that side of it.

I would definitely stay in the business, be behind the camera maybe.

For an actor working in television or film, I think it's important to understand how the medium works - how the camera and lenses work and how the sound and the editing works.

When you're a filmmaker you're part of a very expensive art form.

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.

I would love to work with Adam Sandler. Because then all I'd have to do is just turn the camera on and off.

We were studying at Newport Film School, and I found that the only way for me to make films - because you need people and you need equipment - was that I had to be a student.

If everyone worked with wide-angle lenses, I'd shoot all my films in 75mm, because I believe very strongly in the possibilities of the 75mm.

Directing movies is the best job there is, that's all. I can hardly say a word after that. It's just a great job.

I probably learned, being in 'Taxi Driver' before I made my first film, I would come to the set every day just to watch how that film came about. It's like a graduate course: it's terrific. You talk to the cinematographer during the breaks. You ask the electrician why they are doing this.

I've always been fascinated with everything behind the camera and in front.

I've always wanted to be behind the camera in some capacity.

I was on a picture for four or five days, had an opportunity to be on a set, and the assistant cameraman kept showing me things. One day I climbed the fence, knowing they needed an assistant cameraman. A couple of days later, I was one. The first day or two, it was pretty disastrous, but I knew something about photography, and I caught on quick.

Some directors are interested in acting, and others are only interested in cranes and moving the camera.

It's great to have a good relationship with the directors and learn about things you do with cameras, and how you direct.

I choose not to be in front of the camera. Sometimes I do get offered parts, but I really like just making movies and telling stories.

Every single discussion I have with a first AD, or producers, is time of day. I can't begin to tell you how many times I've fought for early-morning calls. The light is 90 percent of our job; we as humans respond to light and where it is at different times of day and not only in positive ways.

The biggest difference for me was that I operated almost every frame on 'Mudbound,' and I didn't operate on 'Black Panther.'

I've picked up so much about the technical aspects of filmmaking and television.

I was in film school as an undergrad with a focus on directing. Once I started working on shoots, I realized, 'Oh, I really like this cinematography thing.'

Everything that is somehow related to direction and filmmaking fascinates me, like cinematography.

I actually carried a Panavision Platinum and a G2 when I was seven months pregnant for a film called 'Little Birds,' and the whole movie was handheld. And we were shooting in the desert. That's a 35-millimeter camera. It's huge, probably at least 50, 55 pounds, and I did all my own operating.

I always enjoy shooting for all my films.