Aldis Hodge Quotes

I see what's behind everything the director wants to do.

In film, you're painting a canvas. I got really excited about that.

I'm not very aware of styles. We never talk about styles before we start shooting, or even during shooting, because I think the film will bring you there.

When a scene is being shot, it is very difficult to know what one wants it to say, and even if one does know, there is always a difference between what one has in mind and the result on film.

I love directing more than anything in the world, and I love being in the editing room. I love cutting. When I'm shooting, I cut it in my head anyway. That's not to say that it always turns out that way, but you have a sense when you're composing a sequence or a scene how you want it to look anyway.

Interestingly enough, the storyboard... that I did for 'Psycho' went precisely as I laid it up, and there was no change on that. And frankly, I myself at that point didn't even really understand the impact that some of these things would have.

Shooting a movie can be so tedious. You're trying to get 20 different angles on the same swing. You never get into a rhythm. But I took it very seriously.

I really enjoy being behind the camera. A ton of projects I've done that are my most favorite projects would be where I actually executive produce and I'm behind the camera.

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.

Some directors don't get involved in the cinematography and are just about story, but I'm definitely more tactile than that in terms of my involvement in the minutiae.

I think that's the key to being a director: to be able to get the shot and move on quickly.

In a movie, you're raw material, just a hue of some color and the director makes the painting.

I don't think I'd ever start making a film until I had both the intimacy with the subject and the distance to make it live in a certain way.

You get a different kick out of all aspects of filmmaking.

The way I work with my cinematographer is not based on general principles, but the ideas are triggered by the locations where we shoot.

Zhang Yimou is an artist. Sometimes we did only two or three shots a day because we were waiting for the sun.

You talk about what a director, he was smart. He said, Turn the camera on!

Making a movie and not directing the little moments is like drinking a soda and leaving the little slurp puddle for someone else.

To me, the director is the most important, rather than the story.

The director is the only person on the set who has seen the film. Your job as a director is to show up every day and know where everything will fit into the film.

When you make a movie, you can only make the movie that you would want to see.

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

When you shoot a movie, the camera is always taking, taking, taking and not giving anything back.

You ought to have a perspective when you're making a film.

When you're actually making the film, you're constantly battling to maintain its integrity.