Bryan Singer Quotes

I really enjoy being behind the camera. A ton of projects I've done that are my most favorite projects would be where I actually executive produce and I'm behind the camera.

I was saying as a joke the other day that I love film editing, I know how to cut a picture, I think I know how to shoot it, but I don't know how to light it. And I realize it's because I didn't grow up with light. I grew up in tenements.

The size of a studio film lets you see technology in a way that you wouldn't on an independent film, like the gadgets and the angles and all that.

I don't like to watch playback. But being on the set, watching the way the camera is being moved and the way the light is being used, you do get an idea of it.

I think that's the key to being a director: to be able to get the shot and move on quickly.

The way I work with my cinematographer is not based on general principles, but the ideas are triggered by the locations where we shoot.

I may even show up behind the camera. I love to put things together; I love to give direction. I have a great eye for pace.

You talk about what a director, he was smart. He said, Turn the camera on!

When you're working with film, you can only shoot one angle at a time, and then everything has to stop, and you re-light it and shoot everything else from the opposite side, so it's really important that you stick exactly to what's written.

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.

The director is the only person on the set who has seen the film. Your job as a director is to show up every day and know where everything will fit into the film.

Action to me is something very fun to shoot.

I've always wanted to be a director; it's just how my mind has always worked. If I hear music, I see music videos and all the shots and setups to edit it all together. If I interact with a person, I'm seeing a whole scene come to life.

The way I work is, I always compose a shot list before I talk to anybody, including my DP. So I'll spend a couple months basically creating the movie in my head, so I have a very solid film in my head, where I know every shot, and I know what the transitions between scenes are.

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.

People think that all cameramen do is point the camera at things, but it's a heck of a lot more complicated than that.

Anything involving the camera, you're passionate about. Because there's no movies without it.

It was important on The Shipping News to have my house far enough away from each location so I had this time in the morning to think about my shots and still remain open to surprises once I got to the set.

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.

I've always said the one advantage an actor has of converting to a director is that he's been in front of the camera. He doesn't have to get in front of the camera again, subliminally or otherwise.

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.

In film, you're painting a canvas. I got really excited about that.

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

In terms of Cube I think he's very conscious of the technical aspect of the business whereas when you're just hired as an actor, you're not really secure in that part of your work and you're not really paying attention to where the camera.

All film directors, even the ones using 3-D today, want you to look at what they chose.