Vikramaditya Motwane Quotes

And then we watched an amazing number of movies from the late '60s and '70s, which is my favorite time, and we studied their camera movements, their stocks, the way they lit stuff, the colors they used.

Every film deserves its own unique look.

I'd been a fan of old film comedies like Preston Sturges and Howard Hawks movies - the fast-paced dialogue in movies like 'His Girl Friday' and 'Bringing Up Baby' and 'Twentieth Century' and 'Sullivan's Travels.'

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.

In old movies, the cinematography is a thousand times better than anything today. Writing, a thousand times better.

Before we start filming, I have a strong idea of the look and the feel that I want to create, and I'm happy to explore any means that will help me achieve that.

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

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

This is such a cliche, but I feel like filmmaking is a collaborative experience.

I think it's mainly when I need inspiration I look at the old pictures. I don't find it as much in the new stuff. I love Carole Lombard. I think she's wonderful. Gloria Grahame was really great. Garbo. Dietrich. People knew how to create an illusion. Now everything is very realistic and straightforward. Everyone's grunge.

The storytelling in a movie is in the cut; it's in the edit. It's not an actor's job, really. Your job is such a tiny little thing, and I love the feeling of juggling or tightrope walking.

I love design-based stuff. I dug it in 'Pleasantville' and dug it in 'Seabiscuit.'

'Out of Sight' is one of my favorite films ever. Love Steven Soderbergh. 'Goodfellas' was a huge influence on me in terms of the use of camera. 'Black Orpheus,' a beautiful love story that very few people actually have seen, and that was an influence on 'Beyond the Lights,' too, in terms of the look of the film.

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.

People say I pay too much attention to the look of a movie but for God's sake, I'm not producing a Radio 4 Play for Today, I'm making a movie that people are going to look at.

I fell in love with Errol Flynn and Tyrone Power and Basil Rathbone and Hitchcock and Orson Welles and John Huston.

Look at the movies of the sixties and seventies. They were making a different kind of movie then. Would 'Network' ever be made now? No. Would 'Kramer vs. Kramer' ever be made now? No. Would 'Tootsie' ever be made now? Probably not. Robert Altman films? Never.

You make the movie through the cinematography - it sounds quite a simple idea, but it was like a huge revelation to me.

Very few cinematographers, other than the Europeans, know how to light women like they used to in the old days.

I suppose they call me a woman's director because there were all these movie queens in the old days, and I directed most of them. But I also directed Jack Barrymore and Ronald Colman and James Stewart, to name a few.

I really love sort of classical cinema where people were telling stories with very little dialogue, and people were using the camera in a really interesting way.

Wes Anderson deserves an award for sheer persistence of vision.

There's two aspects of film crafting that I'm very strict about, and that's how I move my camera and where I cut the film.

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

I don't have a style. I've never thought of myself as a stylist like the visual stylists I admire enormously - Adrian Lyne, Ridley Scott, Alan Parker - in which every shot has a great idea in them.