Wes Anderson Quotes

You have to give directors and cinematographers a word blueprint for visuals, but I had to learn that from experience.

I was very glad later when I was directing that I wasn't in the hands of a cinematographer and hoping that he would do it well. I would know what he was doing, and we could discuss how that scene would look.

I enjoy setting the scene and coming up with interesting frames. 'True Detective' was a very hands-on set.

I actually started as a model builder and quickly progressed into production design, which made sense because I could draw and paint. But I kept watching that guy over there who was moving the actors around and setting up the shots.

As a director, I start with the visual.

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.

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.

You don't really think about 3D when you're acting. As a director, you do.

There's an ecstasy about doing something really good on film: the composition of a shot, the drama within the shot, the texture... It's palpable.

In film, we sculpt time, we sculpt behaviour and we sculpt light.

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

Pictures are much harder to do than the theater... You're at the mercy of the camera angles and the piecemeal technique.

All these directors who do different locations forget that one room can be shot from a million different angles and a million different ways. When I direct a movie, I'm going to use that.

Usually I design the lighting and when I have the physical set there, I'm not good at going out loosely and saying, 'Do you what you want, give it to the editor, and he'll figure it out.' I physically then walk on with the actors and I say, 'Let's walk until you guys feel the space works for you, and tell me when all that happens.'

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

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

With 'Tron,' we had so many crew members around and a stage full of special effects people that know exactly what has to be done in the situations. You're on a stage in sets the whole time.

Great art direction is NOT the same thing as great film direction!

The color grading in 'Peaky' is a huge, huge element of the show's distinctive style, you know?

I went to film school, trained as a director, have made a lot of movies, and taken a lot of photographs, so I tend to envision things spatially. As I'm working, I need to have a map of the space. I need to know what's happening in all corners simultaneously.

A lot of the time with an independent production, you go onto the set, and you rehearse it in front of the crew, and at that point, the cinematographer takes over. You start accommodating the camera instead of the camera accommodating you.

Some directors are interested in acting, and others are only interested in cranes and moving the camera.

I really enjoy blocking and staging. I think most of visual storytelling is camera placement and how to stage action around the camera.

All my films have been larger-than-life. And since I've sat on almost all the scripts of the films I've produced, I do not compromise on aesthetics and visuals that could add to a scene.

I liked the whole process of creating on set. It's almost like creating magic. The work that the camera guys are doing at the same time, the lighting... all of the people working in their departments to make one thing.