Thelma Schoonmaker Quotes

Other black and white films have also been released in colour, but 'Hum Dono' is better than all of them. When you watch 'Hum Dono Rangeen,' you will feel as though it was shot in colour; you won't feel that I have got the reels painted by brush.

There's one thing which I hate about color films... people who use up a lot of their despairing producer's money by working in the laboratory to bring out the dominant hues, or to make color films where there isn't any color.

I used to rely on black-and-white, and while I was working on 'Smile,' I learned to adapt to color on my end.

A film that is bleached tends to have a more realistic quality.

I used to hate doing color. I hated transparency film. The way I did color was by not wanting to know what kind of film was in my camera.

I was involved in the color correction and the digital color correction. In an odd way, you end up making a film many times-the DVD, the archival record of a high-definition master, and so on.

Color correction is one of my things.

But you know, as you say, the original versions of my films are getting out there, slowly.

I'm sad to see celluloid go, there's no doubt. But, you know, nitrate went, by the way, in 1971. If you ever saw a nitrate print of a silent film and then saw an acetate print, you'd see a big difference, but nobody remembers anymore. The acetate print is what we have. Maybe. Now it's digital.

It's really easy to get colors right. It's really hard to get black - and neutrals - right. Black is certainly a color but it's also an illusion.

The problem of direct colour photography has been facing us since the turn of the last century.

The advent of DVD/Blu-ray reissues of classic Hollywood and foreign films has been a boon to film buffs, who can now study their favorites in all their glistening detail and restored palettes.

The color grading in 'Peaky' is a huge, huge element of the show's distinctive style, you know?

If you can make a color show or movie seem like it's in black-and-white, then you've done a really good job.

One of the color combos that I really love is the tones of technicolor, which older movies would have, these tones of blue and red in them.

I hate Technicolor. Everybody in a Technicolor movie seems to feel obliged to wear a lurid costume in each new scene and to stand around like a clotheshorse with a lot of very green trees or very yellow wheat or very blue ocean rolling away for miles and miles in every direction.

I always bring it up to my lawyer every now and then. And another reason we have to revisit it is because there is a restoration going on right now for the film through UCLA and Sundance.

With all of my films that are on DVD and Blu-ray, I have spent weeks with them in a color timing room. Just changing or enhancing them. I have been desaturating the color. Sometimes I will make a scene bluer or redder. I do use the new medium. I believe in it.

As far as digital technology has come, there's still one thing that digital cameras won't do: give you perfect color every time. In fact, if they gave us perfect color 50% of the time, that would be incredible, but unfortunately every digital camera (and every scanner that captures traditional photos) sneaks in some kind of color cast in your image. Generally, it's a red cast, but depending on the camera, it could be blue. Either way, you can be pretty sure-there's a cast.

I didn't realize there are generations who do not know about the origins of film.

The reason I put so much energy into it at the beginning was that while there were plenty of people looking after the talkies, almost nobody was doing the same for the silents. Now there are plenty of very good historians and restorers.

I can't wait for them to convert old movies to 3D. I am 100% confident I want them to convert 'Terminator 2' to 3D more than I want anything in the world.

Making this movie was a great opportunity for me to explore high-definition. I'm glad I got to see what the challenges are, what makes it better. It works wonderfully.

I don't want the viewer to be able to peel away the layers of my painting like the layers of an onion and find that all the blues are on the same level.

Very seldom do I use white in my books.