Matthew Rhys Quotes

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

I love telling stories with images. But I think there's more to just saying a movie is great visually.

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

I love staging action and wide-shots, not necessarily going to close-ups.

For example, Michael Mann's film Collateral - there is certain kinds of stories that lend themselves to digital photography. Some things are very raw stories that digital photography kind of lends itself to.

I don't have a style. I've never thought of myself as a stylist like the visual stylists I admire enormously - Adrian Lyne, Ridley Scott, Alan Parker - in which every shot has a great idea in them.

I do like being in front of the camera more and more. Having experience behind it has taught me about lighting and angles, how to move, and what looks good and what doesn't.

I don't believe in one slow panning-shot to show a place. It should unfurl in the story itself.

When you're doing the work, film and TV are exactly the same. TV is just film in reduced pieces.

For me, there's far too many close-ups in film. They're a television technique.

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

I just - I kind of see it that way. I find the higher angles down. I do - look, you can go back to the staircase shots in "Third Man" or the staircase in "La Dolce Vita." So I just find that visual construction in a frame.

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.

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.

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

I'm very in love with the fact that the camera is revolted by acting and loves behaviour.

Italian cameramen grow up immersed in an awareness of light. It is part of their mythology.

I love working with Scorsese. He's not only a brilliant director and is great working with actors, but he's also a walking human film encyclopedia. It's fun to talk about movies with him.

TV-makers usually don't know much about photography.

I'm not very aware of styles. We never talk about styles before we start shooting, or even during shooting, because I think the film will bring you there.

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.

As with instant replay, NFL Films' use of slow motion, camera angles and the narration of Facenda was not just a technical breakthrough but a conceptual breakthrough.

Before we start filming, I have a strong idea of the look and the feel that I want to create, and I'm happy to explore any means that will help me achieve that.

I've heard it said many times, 'Let's work on the look of the film,' but that doesn't work with me.

Every different director has another language - for instance, Hitchcock does not like any bright color ever, unless the story says 'there goes the girl in a red dress.'