Don Scardino Quotes

It might sound odd, but I want to thank Michael Bay because he's been saying how important it is to show 3D with the right luminescence. And that's very important for this film, a lot of which was shot at night or with very low illumination.

It would be naive to say that you could make a movie on film for the same price you can digitally.

I tried to film 'Leaves of Grass' in Oklahoma, but it was literally about a million dollars less to shoot in Louisiana.

All film directors, even the ones using 3-D today, want you to look at what they chose.

It is not as though the process of production holds any mystery for me, I know exactly what it involves and I know the predominant concern in shooting one of those things is production values - or as they would say, seeing it all up there on screen.

Right now a lot of people are still choosing to go to Toronto instead of shooting in New York City, something I haven't done and something I hope I'll never have to do.

I guess my first digital movie was 'Tintin' because 'Tintin' has no film step. There is no intermediate film step. It's 100% digital animation, but as far as a live-action film, I'm still planning to shoot everything on film.

I just want to make films that have enough of a budget to pull off high-level imagery but also have a budget that is low enough that I can do what I want.

Look at it this way: if you write the novel of 'Cold Mountain,' it costs exactly the same to produce and market as a novel set in a room. If you make the film, the disparity of costs is huge.

Studios are so used to digital now, and there is a mythology that it's cheaper. But it's really not cheaper. For instance, digital is great for night exteriors; everybody knows it's a video tap, so it's very responsive to light. So you can go out at night, shoot with digital, and it's gorgeous, beautiful to look at.

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.

If I made a film today, it would certainly be on digital.

Every single discussion I have with a first AD, or producers, is time of day. I can't begin to tell you how many times I've fought for early-morning calls. The light is 90 percent of our job; we as humans respond to light and where it is at different times of day and not only in positive ways.

Night and the day, when united, Bring forth the beautiful light.

You just have to learn certain technical things, like where the camera is, not to block people's light in your own, to hit your marks, and that you do it kind of piecemeal.

Various studios are still shooting on film with digital grain and the DI negatives, it's not ideal. We should really be all film or all digital. But that being said, the old way of graining in the camera, now you can make changes like a painter. It's dangerous because you can ruin the film, you can over-fiddle. We've all seen films and gone 'what the hell is that?'

Out of sight above the house, the mirror moon reflected the sun of a day not yet dawned, shining the pale light of tomorrow on the yard and on the paper birches.

Beautiful Hannah. If you were mine, I'd lay you on silk sheets and wrap you up in ropes of pearls, and feed you honey from a silver spoon. Of course, you wouldn't be able to make all your high-minded judgments if you were a fallen woman...but you wouldn't care. Because I would pleasure you, Hannah, every night, all night, until you forgot your own name. Until you were willing to do things that would shock you in the light of day. I would debauch you from your head down to your innocent little toes-" "Oh, I despise you.

The audience cares what the movie looks like, not about the sleepless night you had worrying about the thing getting developed.

First and foremost, my hats off to our directors and camera department. That is something I will miss after Longmire. I can't imagine working on another show that looks like this. We'll get the whole crew out on location and have a hundred people standing around, waiting for about 40 minutes, so that sun is just a little bit further in the sky and the light is hitting the cloud, in the perfect way.

I like the night. Without the dark, we'd never see the stars.

The art of moviemaking seems to get thrown away. The cinematography is gone, and the look of everything becomes of little importance. You lose the memorable images; everything looks like it's been shot at night with a security camera.

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

I like film because it brings you very close to the absurd reality that you might spend a day shooting and not get a single image that you like or works, and you won't really know for a few days at least as you wait. It connects you and grounds you to a material reality and a patience that seems lost with digital. I also think the grain texture remains forever different, and in my opinion, what I find to be more beautiful.

Don't think that some tomorrow you'll see God's Light. You see it now or err in darkest night.