Geoffrey Rush Quotes

Hitchcock loved long convoluted shots that contained a lot of tracking and camera moves.

All these directors who do different locations forget that one room can be shot from a million different angles and a million different ways. When I direct a movie, I'm going to use that.

On 'Y Tu Mama Tambien,' we started exploring shots that are longer, where the camera is moving around the actors, and there are no cuts, and you feel like you're there.

Neorealism taught us to follow the characters with the camera, allowing each shot its own real interior time. Well, I became tired of all this; I could no longer stand real time. In order to function, a shot must show only what is useful.

A movie that I'm involved with and have a lot of love for, which is 'On The Road,' does use a lot of handheld. It can be done beautifully. I'm proud of that. It's a very beautiful movie.

Hitchcock makes it very clear to us. There's an objective and a subjective camera, like there's a third- and a first-person narrator in literature.

There are some scenes that work beautifully in a moving, sweeping master, which is how I like to work.

The way you present a stunt is tied in to the way you photograph it, so you're hanging out with the cinematographer.

You don't want to be the guy whose back's to the camera in the emotional part of the movie. So, you have to be aware of the camera movement and what the camera's doing.

What I'm still grappling with and learning how to do is to be looking and thinking cinematically, having come from television.

I design my shots. I walk the rehearsal as the camera and say 'this is where I want to be... I want this look.

One thing I hate in movies is when the camera starts circling around the characters. I find that totally fake.

I like finding a great shot and then just staying with it for a long time, not trying to pump things up with some kind of artificial energy by cutting.

I think from an early age I was aware of how a camera can tell a story, how a movie camera can affect how the narrative is told.

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

A lot of cable television is shot on a single camera. Our eyes are more trained to that. It takes the camera off the crane, away from observing the action, to becoming a character in the story along with everyone else. People are getting used to that.

I don't study films particularly. I plan to direct, but I'm not watching film - I watch the entire film to see how the story goes, but I don't say, 'Oh, so he does a slow pan here, or he pulls here, watch the crane shot, or look at the composition,' because it's got to be my eye.

Oh yeah - I watched Knife in the Water, saw the shot, and repeated it. But even if I hadn't seen that film, inevitably the camera would've ended up on top of that mast, I mean if you think of it there are only so many dynamic shots on a boat.

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

You can have a movie with hardly any cuts, or very few cuts, that is fascinating, you can't take your eyes away from it... Look at some of the long takes in Citizen Kane.

The weird thing with 'Kismet' is that Vincente Minnelli didn't know what to do with a Cinemascope camera for that film - so he never moved it! It's like in the old days when sound first came in and was so complicated that the camera just sat there. There are hardly any close-ups in 'Kismet,' so everything's at a bit of a distance.

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

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.

In a normal movie, the director controls what you look at. The shots don't last very long because you're getting the audience to look at specific things. An IMAX shot, on the other hand, can be twenty or thirty seconds long.

I don't like it when a movie becomes a series of 'tour de force' shots, and in a way, I was disappointed that with 'Children of Men,' people noticed that the car scene was one shot with no cuts. If people notice that, it's like they're noticing my trick, you know what I mean? I'm doing it so people will get immersed in the movie, not to show off.