Rajiv Menon Quotes

First of all, in the old days, if you wanted to show someone getting shot on film, all you could do was place an effect in the original take. And if you wanted to brighten somebody's face and leave the rest of the room dark, that was a very expensive process.

It's near impossible to make a movie in black and white in the system.

It might sound odd, but I want to thank Michael Bay because he's been saying how important it is to show 3D with the right luminescence. And that's very important for this film, a lot of which was shot at night or with very low illumination.

There's a level of sophistication of filmmaking that's mind-boggling. Anything you need for your movie, there's an establishment that can make it happen really fast.

I'm a filmmaker, but my working procedures are different. All my basic structuring is done during the filming. You know, how long I keep the shot, the exposure or the speed - slower or faster, etc. That's structuring. And then there is a second stage of structuring that comes later when I begin to put those pieces together.

If I made a film today, it would certainly be on digital.

I made shorts films, learning the dos and don'ts. Most importantly, I've been editing all these short films. Nothing can teach you filmmaking like editing can.

When you're a film-maker, sometimes you have to be a slave to continuity.

Whether you make an action blockbuster or a comedy or a drama, you've got the right camera and all the right technology to do it. In games, it's not the same yet, and I would like to see technologies dealing with cameras the way we do - dealing with bouquet, dealing with performance capture, with lighting - with all this stuff the way we do.

Making a film is just layers and layers of work of edits and trial and error.

It's always a challenge to shoot a period film and not have it look like you hit the tea stain button in post.

There's things that you just couldn't do with an optical printer. Now, with digital compositing, most of the energy that goes into a shot goes into the aesthetic issues of, 'Is it a good shot or not?'

When I first started in the industry, there were - this is prior to the era of computer graphics and all these digital tools - there were some pretty rigid, technologically imposed limitations about how you shoot things, because if you didn't shoot 'em the right way, you couldn't make the shot work.

I've learned a lot about getting film sensibilities on digital.

With FX in particular, they've been fantastic and were really hands off. I mean, it helps that you've got Ridley Scott on your side.

Anybody can do glamorous roles. With the latest technology, any girl can be shown beautifully on screen.

It would be naive to say that you could make a movie on film for the same price you can digitally.

My own personal aesthetic is all to do with real actors and real locations and a kind of almost hyper reality and actuality to things. But the digital world, I explore that through other mediums, with music videos and commercials. Even 'The Road' was a real learning curve for me with digital effects.

A lot of hard work goes into making a film.

I've picked up so much about the technical aspects of filmmaking and television.

In 'The Greatest Showman,' I'm back doing VFX myself, allowing me to craft exactly how something looks, one frame at a time.

Visually, I'm always considering shots and composition quite a lot, and I love putting art into films, and I do a lot of the art.

I grew up loving watching movies, and at a certain point, I started to become fascinated with making movies. Then I went to film school, and I got to dabble with different aspects of moviemaking, and I ended up settling heavily into editing - editing was what I was really adept at, had a passion for.

I'm usually known for films that look beautiful and attractive, probably because I am a cinematographer too.

I have, obviously, a very complex relationship with the more industrial side of filmmaking and the machinery that can take an actor or an actress and create something so bamboozling and monumental and fathomless in terms of publicity hits.