Gavin Hood Quotes

I am in love with the idea of doing a movie in 3D. I think 3D would be great in a kind of realistic normal story without throwing objects to the camera, but using the 3D on the emotions in an intimate story.

3D prefers you to use wider lenses because when things are out of focus, and yet it's in 3D, it bothers you.

Oftentimes, when we think of 3D, we think of things coming out of the screen, but actually, you've got this zero, this negative space, what they call the negative space, which is the scene, what's being filmed in the positive space of the audience. As you can have things come out, you can have all of this depth.

I love it when television is shot in a cinematic way and I think to aspire to that is no bad thing.

Filmmakers have to commit to making 3-D films properly like Jim Cameron did and not do cheap conversions at the tail end of the process.

With 3D, all you're doing is trying to shock the audience; there's no value to the storytelling.

The 3D world allows you to engage even more with a film because you're somehow drawn into the landscape or the universe of that scene. Even when it's two people talking at a table, you feel like you're a third party.

Raft told me how to walk with him in a scene: We'd start off in a long shot normal, and about the time we got together in a close-up, I'd be bending my knees so I'd be shorter.

The first effect of looking at a good photograph through the stereoscope is a surprise such as no painting ever produced. The mind feels its way into the very depths of the picture. The scraggy branches of a tree in the foreground run out at us as if they would scratch our eyes out

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

Professional cinema image-taking should integrate, serve, interest, and enhance the story. I judge cinematography not just for a story well told but for what the story is.

What makes a lot of suspenseful films work is very, very particular points of view and very subjective use of the camera.

I've always tried to do camera moves that I felt were immersive. So I think, as a filmmaker, my style of filmmaking is very well-suited to 3-D anyway, so it's not like I'm having to change a huge amount of the way I shoot to work in 3-D.

You get the most 3D effect when it starts about three to four seconds, that's when it starts feeling 3D. And then what you do, quick shots are always flat.

To me, the art of cinema is the same as the art of painting. The artist takes a 2D medium and gives you the illusion of depth. If you look at any of the great paintings, you have the illusion of depth. Which is part of the art. The same with the great movies.

3D is not a fire and forget tool. It takes a lot of very careful consideration and it will change your approach to where you put the camera so 3D isn't for everybody.

I was paying attention to where Steven Soderbergh had the camera and his shots. I was blown away.

At any filmmaking class, you learn the power of the visual medium and are always trying to minimise the words.

I kind of really study different angles of the film. You see how people's bodies are, how they react to certain kind of moves - what foot they step with, what hand they jab with, and all that. Just little things like that, that you pick up when you watch film. Studying is big for me.

French photography was basically poetic, and mine was vulgar and brash and violent, except that there's never any violence in the photographs: it's only in the photographic style.

Since 'Mononoke' has such a dramatic story, I played up the drama, emphasizing the power of a magnum opus.

I never think about it much, the visual aspect of it, until we start making the movie. I don't really think about it when we write. When we finish, and I start putting the film together, and we pick the locations, I do think about that a lot.

I loved, in 'Starman', the use of anamorphic lenses, the creation of blue light, and Carpenter's use of the widescreen format.

As a filmmaker, every tool you get to tell the scene better is important.

In my first-ever shot, there was a big shell that was dropped on my belly in slow motion. I even asked the director why we are doing it, and he said it would look beautiful... and I wondered, 'Really? But why and how?'