Sushant Singh Rajput Quotes

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.

The job is trying to create movie shots that have depth, that have the meanings you need them to have, and then good enough so that they will add something to the final picture. They will make the picture; they'll get into the picture, and give them what they need. It's an interesting job.

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 went to USC and tried to learn about the other side of the camera a little bit.

I learned a lot about how to shoot and how to put together sequences.

I really got into filmmaking through photography.

A shot is only as every as good as how well it tells the story.

I also know what looks good before the camera, how to move the camera, and how to get a story on the screen.

Everything about camera movement, about how film was made, shot architecture, and time management... I was horrible at all that.

Because I come from that old-school optics environment, I know stuff about depth of field and camera movement and things that are not necessarily a part of the curriculum for people who started on a box and have never done anything that wasn't on a box.

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

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

I learned quickly at Columbia that the only eye that mattered was the one on the camera.

Every shot is unique, even if it's just a close-up, an insert of your hand. You've got to work with the guy behind the lens to get it right, focus in. Those are critical little nothing things, but you've got to work with the people who are trying to put it down, in order to get it.

With the work that I do as a director, I've got dialogue, camera movement, and character blocking to help create a tone to the piece. In photography, those elements are somewhat void so that tone becomes a bit more subtle but still equally important.

I was never one for multi-cameras; my approach was always... I always considered there was only one place to be to do a shot.

When you shoot a movie, the camera is always taking, taking, taking and not giving anything back.

I feel every shot, every camera move, every frame, and the way you frame something and the choice of lens, I see all those things are really important on every shot.

You know, when people talk about filmmaking and the techniques of filmmaking, we use them all the time in network television news in order to make our stories simpler, tighter and more understandable to the general public.

Nobody will ever notice that. Filmmaking is not about the tiny details. It's about the big picture.

The process of shooting - of choosing shots - is intuitive for me, and I just feel my way towards what seems right.

When we say 'cinematic', we tend to think John Ford and vistas and wide-open spaces. Or we think of kinetic camera movement or of a certain number of cinematic styles, like film noir.

I've storyboarded for things other people have shot. So thinking in shots and orchestrating shots is not foreign to me at all.

I've always wanted to be behind the camera in some capacity.

As an adult, there are technical aspects of filmmaking you understand, like having to pick up a cup on the same line every time.