Brad Anderson Quotes

My whole approach is very much about using the locations as a world, trying to find the beauty in the time of day we shoot or the ugliness of it, in cases.

With the work that I do as a director, I've got dialogue, camera movement, and character blocking to help create a tone to the piece. In photography, those elements are somewhat void so that tone becomes a bit more subtle but still equally important.

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.

I think lighting is a reflection of what is at stake emotionally in a movie.

Back-light is the cinematographer's friend.

I prefer the gloominess to the sun. I don't know why.

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.

When you make a movie, you know you're making a long-form thing, so the visuals are different than for a video where it has to be more obvious or in your face, I think, a little bit.

Cinema is all about going back from shadow to light and back and forth: cinema is a place of transgression.

As the years go by and I make more films, I am increasingly interested in capturing place as a vivid backdrop for my films.

With the black and white films, one was concerned with tone.

Light is architectural. It is sculptural.

Lighting is everything. It creates mood and has an emotional effect on you.

I think music videos in particular and film in general - it's really good at communicating tone and feeling.

At any filmmaking class, you learn the power of the visual medium and are always trying to minimise the words.

Nowadays, people shoot digitally and it's all in color, but you press a button and it all goes to black and white. But it's not lit for black and white. So, it's a tricky thing. If you're going do black and white, you better remember to separate things with light, because color ain't gonna be there.

I liked the whole process of creating on set. It's almost like creating magic. The work that the camera guys are doing at the same time, the lighting... all of the people working in their departments to make one thing.

We wanted to incorporate lights and the like to really accentuate the music. We play mostly small venues, so we don't use it overboard by any means. The most important thing is the music. I think we do a good job of letting that show.

I like big, flashy production and videos.

The movies are all about visual, and television is all about character and dialogue.

Although technology has been playing a key role in filmmaking, I feel there are plenty of opportunities in other branches of filmdom.

I always say, the darker the scene, the more fun it is.

I've always been passionate about directing.

When I was studying photography, I became interested in conflict photojournalism, and that got me interested in lighting. Then I realized there was this amazing thing called cinematography where you could kind of tell more complete stories photographing for film. So I ended up going to AFI grad school for that.

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