Henry Mancini Quotes

When a film is created, it is created in a language, which is not only about words, but also the way that very language encodes our perception of the world, our understanding of it.

I think from an early age I was aware of how a camera can tell a story, how a movie camera can affect how the narrative is told.

Well, visual language is another boring discussion about the nature of film.

I draw on a lot of cinematic influences like Ingmar Bergman and Wim Wenders, artists who let a story take its time. Comics are a visual medium, and visuals should be allowed to tell some of that story.

Americans think cinema is about storytelling; I don't believe that. I think it's a language and everyone has to find their own way of speaking. It's not so much what you say as the way you say it.

Cinema is visually powerful, it is a complete experience, reaches a different audience. It's something I really like. I like movies.

Creating a character is about what they look like. The look speaks volume to the audience.

When you see a silent movie, you understand everything that's going on from the images because the images are so strong.

For each movie that I do, I like to find a specific language to tell the specific story.

I can use movie as a language. Not only could it send a good message, I could let people know about my thinking and how I see the world, how I see the colour, how I see the music, how I see everything.

I fell in love with film and its potential. The idea of putting one image next to another image and creating meaning blew my mind.

Film is anti-language.

I don't really believe in the mystery of cinematography - what happens in the camera is what the cinematographers create and all that nonsense - I want the director to see what I'm trying to do.

Emotionally, light very much influences, I feel, the audience. It's not something that most audience members are conscious of, which is a good thing, because it means as filmmakers, we have the opportunity to gently control an audience into feeling a certain way.

I find movies rely upon dialogue too much sometimes, and you lose the power of what really the most basic cinematic language is, which is the visual language.

I guess the way I shoot things is slightly influenced by the way videogames are cut and shot.

In a film we have limited time and space to say what we have to, hence the visual language and brevity needs to be paramount. In a novel, however, we can dissect each thought and emotion and build on it.

It could be sci-fi, love story, historical drama what counts for me is the fact that they're made by great directors with a great point of view who bring the audience to be elevated and at the same time entertained. That's what cinema is.

I adore Stanley Kubrick, all of his films were different, not just in subject but tonally.

A lot of people who make films in my generation have the vocabulary of all the films they've seen before.

I went from silent films to watching French new wave cinema. I became entrapped by it all. That's when I knew I wanted to do film. The moment you start looking at film from a critique point of view - there's a difference between watching a film as an audience and with a critical point of view.

I grew up with a deep regard for cinema.

You have to think about space differently; you have to think about time differently when you're talking about a graphic novel versus a movie.

As a cinematographer, I was always attracted to stories that have the potential to be told with as few words as possible.

Fred Bumaye shows great promise as a young filmmaker with a passion for story and the cinematic language.