Pedro Almodovar Quotes

My directors of photography light my films, but the colours of the sets, furnishings, clothes, hairstyles - that's me. Everything that's in front of the camera, I bring you.

Any time you talk about the look of the film, it's not just the director and the director of photography. You have to include the costume designer and the production designer.

When I was in pre-production for Trees Lounge, I was hearing the cinematographer talking with the production designer about colours and this and that, and feeling like I was losing control.

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

All my films have been larger-than-life. And since I've sat on almost all the scripts of the films I've produced, I do not compromise on aesthetics and visuals that could add to a scene.

As a director, I start with the visual.

I'm still really into set design and construction when I do films. I notice that stuff.

On the speech day, the production designer, who has a lot of say in things, and sometimes I didn't agree with him but I had to do what I was told, wanted the speech day to be all in neutral colours for the women, which was a good thing.

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.

It's more interesting because you get to research the history of the period, and all the different aesthetic elements that make a film, particularly this film, so stunning.

And finding the hat, I always like to find the hat. And then props just dress the set. It's all fabulous.

Every film deserves its own unique look.

When you're making a film, you have an obligation to fill the frame with life.

Visually, I'm always considering shots and composition quite a lot, and I love putting art into films, and I do a lot of the art.

A period film is a gift for a cinematographer.

I really loved it because it really informed his way of seeing my character and the story. If you look closely he always had this metaphor of an egg, of a little chick pecking her way out of a shell, and in one scene in the kitchen there are all these white plates on a wall and then in the middle there is a yellow plate so even that looks like an egg. And a lot of the furniture was almost sculpted in that way as well. It was really cool to see that.

I've been thinking about where I want to take my live show. I want everything in it to be pink, gold, and black. I don't want people to feel any other colors, like brown or yellow.

Imagine someone pointing to a place in the iris of a Rembrandt eye and saying, 'The walls of my room should be painted this color.

I love REAL set construction and think that sets are very important part of the storytelling and scope of a film.

I think when you pay attention to the shots, you're aware of the fact that there's a director. Really, it's the director's job to disappear and allow the movie to just feel.

The painter has to unlearn the habit of thinking that things seem to have the color which common sense says they 'really' have, and to learn the habit of seeing things as they appear.

The most important thing that I think we've done this season is to show navy and gray in a very new way. Most men understand navy and gray as a navy blazer and a gray flannel trouser, but today, we're taking that very traditional color palette and putting it in a more modern shape.

There is no model, there is only color.

I think of great masters, like [Alfred] Hitchcock, for example, who works absolutely within this sensational realm. You feel like you can always tell what temperature a room is in a Hitchcock film because the people feel alive, they don't feel like they're just being filmed on a stage.

We have our brush and colors - paint Paradise and in we go.