Jonathan Glazer Quotes

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.

I always loved Japanese movies. And they had an enormous impact in France - the Nouvelle Vague took so much from them. It taught us how the camera was placed in the centre of the action.

'Saving Grace,' even though fictionally it was set in Oklahoma, we shot it right outside of L.A.

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

There's two aspects of film crafting that I'm very strict about, and that's how I move my camera and where I cut the film.

Finding where to put the camera is probably the most important thing you have to learn when you're a young director, and it's something that's a mixture of instinct and technique.

If you know how to shoot a scene, then you know how to shoot an action scene. If you've seen an action movie, and you watched it, and you paid attention to how scenes are constructed and where the camera is and how the camera moves, then you know how to do it.

I don't like to shoot on sets at all. As much as possible, I try to shoot on location.

I'm really specific in the way that I shoot. I've always had a very good sense of what I need in the editing room. I used to shoot in a way that drew more attention to the camera and I've tried, in each film, to draw less and less attention to the camera. I think when you pay attention to the shots, you're aware of the fact that there's a director.

I'm a visual filmmaker so the camera is a big part of my storytelling tool and it's something that I really rely on to tell a scene or create the suspense that I need and create the emotion of a scene or a sequence.

I'm older and wiser. So and now having segued into filmmaking I'm looking at [Ridley Scott ] and what he does in an entirely different way and I have respect for what he does and how he composes shots. So that was what was completely fascinating.

I think you can say a lot with the movement of your camera but you can also say a lot by keeping it still.

I was paying attention to where Steven Soderbergh had the camera and his shots. I was blown away.

I've been acting since I was 2 and have always been on camera but doing a video is different because when you're acting, you pretend the camera's not there and you just do the scene and with a music video you're right in the camera so it feels weird sometimes.

A good filmmaker is someone who can look at a piece and go, "This camera's really going to be a character. I want people to feel like they're being punched."

The function of camera movement is to assist the storytelling. That's all it is. It cannot be there just to demonstrate itself.

When I was on set I tried not to bug Steven Soderbergh too much. "Why did you put the camera there?" But he was very open to my questions and definitely being on his set was really thrilling because he's such a master.

A writer needs a pen, an artist needs a brush, but a filmmaker needs an army.

I'm really specific in the way that I shoot. I've always had a very good sense of what I need in the editing room.

Sometimes I want to work with a DP, sometimes I want to work myself. I go to 35mm, 16mm, it's all the same, but it depends on what you want to tell and what are the tools you need.

There is no right or wrong angle for something. The idea of putting the camera in an unfamiliar position is simply to do with film language. Sometimes it is spectacular, sometimes it is ugly, sometimes it is uninteresting.

I really do enjoy making movies and I try to test myself on occasion with some different stuff.

As a director, I like trying to unlock the subtext of the scene and try to put the camera in a place that helps that.

As a filmmaker, I love the medium. I have a great affection for it and I've been lucky enough to do all different kinds of films. The greatest part of the success I've had comes from horror. I love the idea of mixing humor and horror and to me, it's all a giggle.

In film and television you have to be able to see the whole picture in a different way than you do on the stage because you shoot out of order and you're working with technology.