Scott Borchetta Quotes

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.

In my films that I've directed, and my work in commercials and videos, I've rarely used handheld. It's just not something I'm drawn to, but I've seen it done very well.

People who are good at film have a relationship with the camera.

Lesson number one: Pay attention to the intrusion of the camera.

I'm one of the few directors that actually shoots a lot in camera.

So long as cameras are there, confirmations will be drawn-out photo opportunities.

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.

The cinematographer's basically translating the director's vision into imagery.

Movies are a voyeuristic experience. You have to make the audience feel like they are peeking through a keyhole. I think of myself as the audience. Then I use light, framing, and motion to create a focal point.

Having been a cameraman, I think about, 'Well, if this was real, how would this be shot?' I try to inject as much realism as much as possible.

I was in film school as an undergrad with a focus on directing. Once I started working on shoots, I realized, 'Oh, I really like this cinematography thing.'

We should not confuse having a Flip camera with making a documentary.

When I started, you didn't focus so much on production, certainly not - gosh - down to the finest little detail of how you shifted your eyes or how you turned to somebody. A lot of the shots were far away from a still camera. There weren't as many close-ups and intimacy.

My first film was very static.

You can put the camera in places where you may not necessarily be able to put it there if I don't do the stunt. If it's character and it's storytelling, then we do it. We design the things around me. I don't do it just to do a stunt. It's storytelling for me and how I can best bring the audience into the action, bring the audience into the story. And that's how we always look at at.

A movie that I'm involved with and have a lot of love for, which is 'On The Road,' does use a lot of handheld. It can be done beautifully. I'm proud of that. It's a very beautiful movie.

It's kind of dangerous to cut in the camera, but that's the only way I know how to direct.

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.

I can still recall the thrill of shooting my first film.

Directing has completely changed the way I write and watch films.

Oscars are won with two or three shots only, because if it's really beautifully photographed, you don't really notice it until the astounding moment emphasizes it.

Every cinematographer I worked with had his own way of solving problems.

I don't like to watch playback. But being on the set, watching the way the camera is being moved and the way the light is being used, you do get an idea of it.

I've directed a fair amount of television series - so I'm always trying to learn new things. One episode was all hand-held and I'm trying to get better at when you should do things and when you should just shut up and watch what the people are saying.

I've always had the utmost respect and awe of what the lens can do and what a director can do with just a camera move.