Shawn Michaels Quotes

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

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

When I am shooting a film I never think of how I want to shoot something; I simply shoot it.

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

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

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.

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

On film, you really have to focus on what you're looking at. You're imprinting a physical image.

The cinematographer's basically translating the director's vision into imagery.

Having been a cameraman, I think about, 'Well, if this was real, how would this be shot?' I try to inject as much realism as much as possible.

TV helped me understand camera angles, close-ups, master shots.

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.

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.

As a director, you're looking for ways to tell the story with the whole image and not primarily dialogue.

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

Zhang Yimou is an artist. Sometimes we did only two or three shots a day because we were waiting for the sun.

I really got into filmmaking through photography.

Well, I've learned something from Michael Robison just about maximizing your shots. For example, if I'm shooting a scene and someone's driving at the wheel, you could steal an insert in the same shot.

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

In a very real sense, all you do when you're shooting film or television is you shoot a scene, and then you shoot another scene, and then you shoot another scene.

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

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

I was always very interested in the storytelling decisions that went into directing. It just held this real allure for me. You know, if we're doing a scene at a dinner table, they weren't all shot the same. 'Why was the camera here for one moment and there for another?'

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