Rod Lurie Quotes

The funny thing is that I almost find it more difficult now to take a still picture than to be behind a moving camera. I'm just so much more inspired and comfortable and confident when I have that whole operation going. I feel more connected. Snapping a moment doesn't seem relevant to me anymore.

When I was in college, I wanted to study film. My first passion was to be a cinematographer. So maybe there's something innate in my music where it partners well with images.

Every year or so, I try to do something; it keeps me refreshed as to what's going on in front of the lens, and I understand what the actor is going through.

Being behind a camera, in front of the camera, is my own little deconstructionist niche.

Whenever I arrive on a real location, I have to move around and work out what the best angles are going to be. When I was moving around with the lens, I discovered things that the naked eye would not have.

Videos are more like photography. It's not as much about trying to tell a story as it is creating images.

If I go home from a day of shooting, and I haven't at some point felt the magic, I'm really frustrated.

I was always painting when I was a kid. But then when I handled a camera when I was 17, that was it for me. I loved photography. I would work 4 or 5 hours a day. It was like a calling.

I made the intentional choice to step behind the camera.

I really got into filmmaking through photography.

I don't story board. I do something else, which is, I block it. We then train to the blocking. In other words, when everybody's training, they're actually training a lot of the moves that we are definitely going to use, and then, I do a lot of photography of that, and that becomes where the cameras go.

Whether he is an artist or not, the photographer is a joyous sensualist, for the simple reason that the eye traffics in feelings, not in thoughts.

Normally as a director, you do look at other films and things that are relevant. But with this film, it became impossible because I became so aware of the camera placement.

Going to directing wasn't a reaction away from acting as much as it was a move towards something I always wanted to do. Ever since I was a kid, I was interested in the camera and how it worked and why one director would place it in this part of the room and then another would place it in that part of the room.

In my own life, I've written scripts that I want to direct, so I would love to take my own creativity in a way where I could tell my own story. That does inspire me, the idea of becoming a director.

I don't use film in the way that the great auteurs do. I use film, the camera, to record as effectively and as perceptive as I am able what I want to say through the actors.

One thing I learnt was that you don't have to spend all day shooting: you can get it done in half an hour if you're that talented as a cameraman.

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.

To catch a piece of life on camera and make it come alive, add layers to it and deliver a product that is wholesome is really exciting to me.

I think I may just enjoy being behind the camera as much as I like being in front of it.

I've always preferred being behind the camera.

I am very much open to doing cinematography for any talented filmmaker, if the script is good.

As a filmmaker, every tool you get to tell the scene better is important.

Filmmaking is to me very similar to being in a café somewhere in Paris and looking at the people walking by.

In a daydream sort of way, I think it would be pretty cool to direct a movie. But I have been on movie and TV sets and know it is hard work. I like directing it in my mind. It is easier.