Kelly Asbury Quotes

You don't want to be the guy whose back's to the camera in the emotional part of the movie. So, you have to be aware of the camera movement and what the camera's doing.

If the audience, in minute 50, is thinking about the way a movie is shot, there's a problem. I want it to permeate emotionally.

Look at the opening sequence of 'The Blues Brothers,' which starts at the prison. The way it was filmed, it does not look like a comedy. I thought that was great.

As far as lighting and blocking, camera angles and facial expressions, all that stuff that has to be very specific in film, as opposed to in wrestling where everything is larger than life and you're performing to the masses.

A good actor knows exactly what the camera wants, what the sound wants, where to find the light and how to tell a good through line and journey.

The storytelling in a movie is in the cut; it's in the edit. It's not an actor's job, really. Your job is such a tiny little thing, and I love the feeling of juggling or tightrope walking.

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

I think that those are the things that you can uniquely do with film that are difficult to do anywhere else: they can bring a picture to life, give it a natural and historical context and make you feel that everything else is suddenly credible.

My two great loves when I'm shooting are working with great actors and composing images.

My phrase has always been that I am looking for the versatility of theatre in film. I think I have been quite lucky in that so far.

I like finding a great shot and then just staying with it for a long time, not trying to pump things up with some kind of artificial energy by cutting.

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.

In Goodfellas they have this one scene where the camera goes down some steps and walks through a kitchen into a restaurant and the critics were all over this as evidence of the genius of Scorsese and Scorsese is a genius.

My favorite part of the whole filmmaking process is working with a fantastic cinematographer, a fantastic actor or actors, and then just creating emotions and stories. I get so excited by that. That's the part I'm utterly addicted to.

In 'Beowulf,' director Robert Zemeckis uses a technique called 'motion capture' to conjure fantastical things, angles into action and sweeping vistas to stun your eyes and take your breath away. But what he hasn't mastered and what the technique can't do is this: emotion capture.

My favorite films are the ones that I walk away from and I know I saw a story.

In film, we sculpt time, we sculpt behaviour and we sculpt light.

Film is an emotional medium; it's not a logical medium. It's not an intellectual medium, so every decision you make as a filmmaker and an actor has to be emotional in some way, even in the rejection of logic.

I think a movie is a media that is evoking feelings.

Directing is very close to choreography; you deal with space, time, emotions, lighting, making beautiful images.

The film's dramatic requirements should always take precedence over the mere aesthetics of editing.

Usually you talk about directors in terms of the way they choose camera lenses or a kind of light to create a certain effect. But to me the most valuable commodity for a movie to create is a feeling of life, and that's what A Hard Day's Night has in spades.

You can have a movie with hardly any cuts, or very few cuts, that is fascinating, you can't take your eyes away from it... Look at some of the long takes in Citizen Kane.

Film has to describe and show.

The only thing approaching art in a movie is the script.