Aneurin Barnard Quotes

I am very much open to doing cinematography for any talented filmmaker, if the script is good.

No matter how many helicopters there are, when it comes down to it there is the camera and you.

All my film ideas and subjects have come from photography.

I would love to direct a western. I love taking photographs and I'm always fascinated with angles. Also, my father was a film editor, and I have a talent for thinking of things that aren't always in a script.

I've discovered that being behind the camera is more fascinating. If I had to choose a profession today, it would have been something behind the camera.

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.

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.

I can still recall the thrill of shooting my first film.

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

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.

The way you present a stunt is tied in to the way you photograph it, so you're hanging out with the cinematographer.

I believe that the best cameraman is one who recognizes the source, the story, as the basis of his work.

Whenever I arrive on a real location, I have to move around and work out what the best angles are going to be. When I was moving around with the lens, I discovered things that the naked eye would not have.

I design my shots. I walk the rehearsal as the camera and say 'this is where I want to be... I want this look.

If you shoot with a billion cameras, then there's no perspective. You want to use one shot at a time, so it's better to discover what that is before you shoot, rather than trying to make something in the cutting room, and then it just becomes generic.

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!

The funny thing is that I almost find it more difficult now to take a still picture than to be behind a moving camera. I'm just so much more inspired and comfortable and confident when I have that whole operation going. I feel more connected. Snapping a moment doesn't seem relevant to me anymore.

I'll reshoot a corridor 13 different ways, and you'll never recognise them.

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.

I started out with this dream of being a director and doing cinematography and bought my first film camera at 15.

I really got into filmmaking through photography.

I have great respect for directors who know what they're doing.

When I am shooting a film I never think of how I want to shoot something; I simply shoot it.

Every shot is unique, even if it's just a close-up, an insert of your hand. You've got to work with the guy behind the lens to get it right, focus in. Those are critical little nothing things, but you've got to work with the people who are trying to put it down, in order to get it.