Cameron Britton Quotes

My directors of photography light my films, but the colours of the sets, furnishings, clothes, hairstyles - that's me. Everything that's in front of the camera, I bring you.

My wife Victoria Harwood was art director on 'Far North,' and she had designed my student film, 'The Sheep Thief.'

Any time you talk about the look of the film, it's not just the director and the director of photography. You have to include the costume designer and the production designer.

For four years, I worked as one of the general shop crew on movies like 'Naked Lunch' and 'Arachnophobia.' I made lots of bugs.

Typically, whenever you're envisioning how you're going to shoot something, you have a location or a set that you're going to build, and it's going to be built to specifications.

Being movie director you've got the art department, you've got the actors, you've got the camera department, you've got make-up and hair, and props. You've got your finger in all these pies, and you're making sure that everything cooks at the right temperature.

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 had fun doing it, but acting ain't really my thing. I am more of a production/director type. I would rather be behind the scenes and organizing and putting things together like that.

Music is where I have the most creative freedom, but I love producing. To me, that's kind of where all the action is. You get a chance to have your hands in every aspect of a film. From picking a director, sometimes picking a writer, to the actors, the wardrobe, set design, editing, music, and marketing.

I really love diving in, head first, with directing and not having to worry about hair, makeup or lines.

When I was in pre-production for Trees Lounge, I was hearing the cinematographer talking with the production designer about colours and this and that, and feeling like I was losing control.

I'm the kind of person who likes to create the environment and mindset - not because I do it deliberately, but because that's how I like to live - where, from catering to makeup to hair to wardrobe, electricians, camera department lighting, sound, you know, it's our movie; we're together, and we have that camaraderie and that closeness.

It's always challenging when you're shooting a film. Shooting things out of order and keeping continuity on all levels is always for me the most challenging thing.

Movie making is really, it's a director's medium, it's not even so much an actor's medium.

I think you cannot make films without choosing everything.

I want to try and be as involved in the art of filmmaking as possible. I feel that the only way to really do that is to take on as many roles as possible, whether it be as an actor, an editor, a director, a cinematographer.

Filmmaking is a very complex form - ya know, acting, lighting, screenwriting, storytelling, music, editing - all these things have to come together.

It's more interesting because you get to research the history of the period, and all the different aesthetic elements that make a film, particularly this film, so stunning.

I find that with period pieces, you're sort of able to really take advantage of what's around you because prop-wise, wardrobe-wise and location-wise, it's all so specific due to that time.

I never wanted to be in the show business. I wanted to do special effects.

There is the danger of over preparation, of loss of spontaneity; over rehearsal is the most terrible thing you can imagine. We do have a very close association between costume and set designer, though. And the cameraman is very important, of course.

Sometimes you see a movie and you can really feel that it's an actor putting in a performance. Someone said 'cut' and they're back in their trailer having a coffee or getting their hair done.

The hardest part about making movies is staying the exact same weight every day and looking the same.

Visual elements are, of course, the director's job.

Making films is sort of like you're pulling off a magic trick. It's sort of like an illusion. It's not real but you want it to appear real, and all kinds of things go into that, from the clothes you're wearing to the make-up, to the light.