Sean Baker Quotes

I don't get tripped up in technology. I use technology as a tool. 'Oldboy' we shot Two Pro 35mm. For 'Da Blood of Jesus,' we shot digitally. We shot the new Sony F55. It's a 4K camera.

I have no opinion on 48 frames a second at all. I'd be completely unsuitable to talk about that.

I feel a lot of films that are shot digitally, even low-budget independent films, they look super slick now. Because the technology is so good that they look too good.

If everyone worked with wide-angle lenses, I'd shoot all my films in 75mm, because I believe very strongly in the possibilities of the 75mm.

That's one of the best things about the RED ONE - I can use all the best lenses that have been used in film forever.

I do believe that a film like Ten could never have been made with a 35mm camera. The first part of the film lasts 17 minutes, and by the end of that part, the kid has totally forgotten the camera.

If it was up to the studio, everything would be shot with a camcorder.

The visual architecture of 'Biutiful' is the most sophisticated of all the films I have directed.

As a filmmaker, deep blacks are essential, and in my experience, no technology captures those attributes as well as Plasma.

All my films are shot on hand-held cameras. These cameras took five years to build and had to be light enough to be carried.

When you shoot on high-definition, everything is very sharp and clear, sometimes at the cost of losing dimension and depth of field.

Get out and make films. There are so many cameras now to suit any budget, so there are no excuses.

I even agree with the new digital ways of filmmaking, where you don't even have physical film in the camera, but to be honest, I wouldn't want to use it.

My principal job is to make interesting and entertaining films, and I'm not proud of which format or which particular technique I use. I just wanted the film to look good.

For the last 10 years, I've felt increasing pressure to stop shooting film and start shooting video, but I've never understood why. It's cheaper to work on film, it's far better looking, it's the technology that's been known and understood for a hundred years, and it's extremely reliable.

When I made 'Eight Below,' they wanted me to shoot digital, and I didn't want to do it because that's just what I need, to get a great series of takes and then find out the camera was frozen.

The IMAX cameras are big and heavy. And they're loud. So you have to be mindful of whether or not they're worth it; I'd say the image quality is incredible and the scale is amazing.

Very few cinematographers, other than the Europeans, know how to light women like they used to in the old days.

The beauty of a Tarantino film is that the visuals match the rhythm of the words. That's his goal. And that's my goal.

Every film deserves its own unique look.

Making this movie was a great opportunity for me to explore high-definition. I'm glad I got to see what the challenges are, what makes it better. It works wonderfully.

I really tried to get comfortable with the notion of shooting digital on 'Foxcatcher' and just couldn't. I shot many tests and experimented with all sorts of techniques to manipulate it into a place that worked for us, but it just didn't happen.

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

'Tangerine' being my fifth film, I was out of favors. I couldn't afford to get the Arri Alexa or RED cameras and I definitely couldn't shoot on film.

Unless it's a song and something fancy, I would rather shoot on location.