Pedro Almodovar Quotes

Whenever I arrive on a real location, I have to move around and work out what the best angles are going to be. When I was moving around with the lens, I discovered things that the naked eye would not have.

Michael would take us on location and see how the colors worked in the forests and fields.

I really got into filmmaking through photography.

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

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.

I love having 30 shots of every scene.

I tried to film 'Leaves of Grass' in Oklahoma, but it was literally about a million dollars less to shoot in Louisiana.

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.

An action choreographer is kind of like a dance choreographer. You choreograph the moves and you let the director, cinematographer take into positioning their cameras.

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

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

Because I come from that old-school optics environment, I know stuff about depth of field and camera movement and things that are not necessarily a part of the curriculum for people who started on a box and have never done anything that wasn't on a box.

The way I work with my cinematographer is not based on general principles, but the ideas are triggered by the locations where we shoot.

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

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.

When you're working with film, you can only shoot one angle at a time, and then everything has to stop, and you re-light it and shoot everything else from the opposite side, so it's really important that you stick exactly to what's written.

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.

Any actor working a long time should know how a shot is set up, where to place themselves, how to handle the lines. I'm a member of the crew, like the best boy, the electrician. What I'm good at is making eyes at the camera.

With the work that I do as a director, I've got dialogue, camera movement, and character blocking to help create a tone to the piece. In photography, those elements are somewhat void so that tone becomes a bit more subtle but still equally important.

I was never one for multi-cameras; my approach was always... I always considered there was only one place to be to do a shot.

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

If you've got five cameras, you're making sure that you're in the right position for each one of the cameras.

I love directing more than anything in the world, and I love being in the editing room. I love cutting. When I'm shooting, I cut it in my head anyway. That's not to say that it always turns out that way, but you have a sense when you're composing a sequence or a scene how you want it to look anyway.

I love when I go on set every day, because the camera people teach me camera terms and grip terms - I learn all these new terms from different people on the set and leave feeling all cool about myself when I go out places.

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?'