Sean Baker Quotes

People say I pay too much attention to the look of a movie but for God's sake, I'm not producing a Radio 4 Play for Today, I'm making a movie that people are going to look at.

I'm kind of a tech geek. With the camera work, I chose to shoot super 16, which has a real tactile feel. I feel it's as authentic as possible; I love the way the grain feels.

Unless it's done superbly, as in the Japanese film Gate of Hell, color can be a very distracting element.

There are many applications for which film is going to be better, for a very long time.

Making 'Coraline' was one of the great filmmaking experiences of my life.

The difference between a regular camera and a 3D camera, for an actor, is really no different except that the turn-arounds are longer. It takes a lot longer to set up a shot because the cinematographer is really trying to set up a whole world, so it can't be more intricate and more beautiful to the viewers, in 3D.

Before we start filming, I have a strong idea of the look and the feel that I want to create, and I'm happy to explore any means that will help me achieve that.

I've heard it said many times, 'Let's work on the look of the film,' but that doesn't work with me.

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.

Sometimes I don't know whether a movie has been shot on film or in digital when I watch it in the theatres.

It's near impossible to make a movie in black and white in the system.

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 always wanted them to look like Hollywood movies; I just didn't know how to do it.

While it's easy to sit back and cherry pick bad visual effects and blame the industry for making movies the way they are, you're really not seeing the whole picture.

I've learned a lot about getting film sensibilities on digital.

I never thought I would direct a film.

Even though I love Hindi films, I don't remember any backdrop visuals that are really striking.

We were doing this close-up of my character on a cell phone, and the director's just like "Cut! Can we get somebody else's hand in there?" I do bite my fingernails, and you don't want to see a fat, bitten thumbnail on a 30-foot movie screen, so I get somebody with really nice, sexy hands and put 'em in there.

I don't like movies that are shot on green screen much, you know. I mean, I know that's the thing to do, and I know that it's getting. I'll put it this way; David Lean would probably kill himself, you know, again if he knew that people were watching Lawrence of Arabia on a telephone.

It's hard work. It's really hard work, but it's really interesting. We have this camera, I think it's called a SimulCam, and when you play it back, you can see the giant in the scene you just shot. It's incredible. You're reacting to a tennis ball that's way up there, then when you watch it, it's this huge giant's face on it. Wow. That's cool. I just can't wait to see it when it's all edited together and the special effects are all crystal clear. It's going to be, hopefully, amazing.

The whole visual language of the movie is developed way before we get to set. Especially when you're doing visual effects and you don't have a lot of money to mess around, which we didn't, you have to really preplan everything. Pretty much every shot in the film was figured out months before we got to set.

I never really understood how movies were made, because it was such a technical accomplishment.

Depending on the budget [whether to use 3D on future movies]. I think I prefer 3D to 2D now. Also, because of 3D I have to use a digital camera, which is the way it's going anyway. That still confuses me, a digital camera versus film.

I'm certainly not a fan of conversion when you could shoot the movie in 3-D.

To be only spectacular should be 5 or 10 percent of cinema.