Marguerite Moreau Quotes

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

I don't write tracking shots in my screenplays or any camera directions, but I do try to give a sense of how the action is moving.

The thing is, as a film director, you're essentially alone: You have to tell a story primarily through pictures, and only you know the film you see in your head.

It's kind of dangerous to cut in the camera, but that's the only way I know how to direct.

There are some scenes that work beautifully in a moving, sweeping master, which is how I like to work.

I discovered that, in order to write a magnificent piece, you should shoot the images because once you are filming, you are writing the script in your mind.

I think from an early age I was aware of how a camera can tell a story, how a movie camera can affect how the narrative is told.

I have considered the directing, actually. Not so much the writing. That is not really interesting, but the directing is really interesting to me.

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.

Directing is creating a whole. You're able to combine different elements and create a film that is unique and true to your vision.

Making a movie and not directing the little moments is like drinking a soda and leaving the little slurp puddle for someone else.

I have always believed that directing a film is like telling a story. You have to tell it well so that it is appreciated.

In Hitchcock's eyes the movement was dramatic, not the acting. When he wanted the audience to be moved, he moved the camera. He was a subtle human being, and he was also the best director I have ever worked with.

I don't study films particularly. I plan to direct, but I'm not watching film - I watch the entire film to see how the story goes, but I don't say, 'Oh, so he does a slow pan here, or he pulls here, watch the crane shot, or look at the composition,' because it's got to be my eye.

You will find hardly any improvising on camera anywhere in my films. It's very structured, but it's all worked out from elaborate improvisations over a long period, as you know.

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

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.

Hitchcock loved long convoluted shots that contained a lot of tracking and camera moves.

I'm a visual filmmaker so the camera is a big part of my storytelling tool and it's something that I really rely on to tell a scene or create the suspense that I need and create the emotion of a scene or a sequence.

Directing is a tremendous art.

For me, the filmmaking has to be about the dramaturgy.

A lot of directors in my experience are very receptive. They see what you do first, and then they want to find a place to put the camera, and they tweak you here and there.

Directing has completely changed the way I write and watch films.

As a director, you try to find what is creative.

I've directed a fair amount of television series - so I'm always trying to learn new things. One episode was all hand-held and I'm trying to get better at when you should do things and when you should just shut up and watch what the people are saying.