David Cage Quotes

Something we often struggle with on pictures is the right way to shoot live-action elements that are for an environment that's very complicated from a lighting standpoint. An example is a starship flying through an environment that's constantly changing.

I always loved experimenting in film.

For video clips, you can always assume that there is a creative component since you are literally dealing with production values.

I thought that it would be easier to learn that if I worked in motion pictures. So I went to work with one motion picture producer who was developing a color system. This didn't do to me much good. All I did was pick filters for the camera.

With today's fast films, you can light the way your eye sees the scene. You can abuse the film and create subtleties in contrast with light and exposure, diffusion and filters. That's what makes it an art.

My interest in filmmaking was always very much the visuals and images.

Most people think of cinematographers as choosing subjects of an epic nature to show off what they do - big, sweeping images of war or pageantry.

I love the visual medium of film and TV. I love the science of it, working with the sound and the lighting and every aspect.

Everything that is somehow related to direction and filmmaking fascinates me, like cinematography.

I thought of learning cinematography, so I assisted a cinematographer for an ad.

Pictures are much harder to do than the theater... You're at the mercy of the camera angles and the piecemeal technique.

I always loved bulbs, and I use light a lot in my shows. In my office in Paris, I have 300 bulbs.

I'm a filmmaker, but my working procedures are different. All my basic structuring is done during the filming. You know, how long I keep the shot, the exposure or the speed - slower or faster, etc. That's structuring. And then there is a second stage of structuring that comes later when I begin to put those pieces together.

I always wanted to design for films.

A lot of the films now are more focused on the visuals than on the actors. I think all directors should go to drama school.

You learn tricks to make action look more dynamic - having the fight come toward you or shooting on a longer lens to compress the speed.

You make the movie through the cinematography - it sounds quite a simple idea, but it was like a huge revelation to me.

Directors, producers can make you look good or make you look bad.

In TV, sometimes you get lost in the fog of the scene, and when you're working with such good actors, they can bring you into the scene.

It's hard to incorporate dance into movies I think.

I'm interested in films, in directing.

I think the audience doesn't know a movie's lit, but they feel it. Because you've walked in a forest many times, or in a park, so you know how it looks. When you start lighting, subconsciously you know there is something that is absolutely wrong.

Once I went to film school, I realized that film directing was actually much better than theater directing, because you kind of get to stay in control of it all the way through. You don't relinquish the piece to the actors like you have to in theater; you stay in control through the very end.

The color grading in 'Peaky' is a huge, huge element of the show's distinctive style, you know?

Some directors are interested in acting, and others are only interested in cranes and moving the camera.