Camera Placement Quotes

If it's stage, the two most important artists are the actor and the playwright. If it's film, THE most important person is the director. The director says where the camera goes.

Normally as a director, you do look at other films and things that are relevant. But with this film, it became impossible because I became so aware of the camera placement.

I have definitely been curious and involved in the process; even as a young actor. I was always looking at where the camera was, what story it was telling. And as my experience grew, I wanted to know even more.

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.

If I want to make people moved or cry in a film, I figure out what the room looks like, what the people are wearing, what time of day it is, what the light is, how to photograph it, where to put the camera. It involves optics and costume design and set design and architecture.

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

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 can't separate the process of writing from the visual process. I'm speaking only for myself here, but I'm a highly visual writer. In my imagination, when I'm thinking of a scene, I think of every last detail of it: The space, the color palette, the blocking of the actors, the placement of the camera.

I always think, 'What does this picture mean? What's the best place to put my camera? Do I have anything extra in the picture, things in the background that will distract? Am I in the basic position that will give the essential things for this picture but not too much?'

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.

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.

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.

3D is not a fire and forget tool. It takes a lot of very careful consideration and it will change your approach to where you put the camera so 3D isn't for everybody.

I don't story board. I do something else, which is, I block it. We then train to the blocking. In other words, when everybody's training, they're actually training a lot of the moves that we are definitely going to use, and then, I do a lot of photography of that, and that becomes where the cameras go.

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.

You've gotta understand camera angles, camera movement - a kick that may not be very powerful may look very powerful from a certain angle.

Try to place the camera somewhere where you get most of the information from there, so you don't need to have too many shots and be too explanatory and expositional about the scene.

Documentaries are inherently instinctual; you're constantly moment to moment, determining what the best place for the camera is to tell the story, usually in service of natural lighting.

There's one right place to put the camera. I'm a big believer in that. You'd think you could put it anywhere. Nope.

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?'

Lesson number one: Pay attention to the intrusion of the camera.

I don't think I'd be a good director because people would ask me, you know, "What is it? What's going on here? Where should I put the camera?" Or, "What's my motivation?" And I would say, "Do whatever you want!"

Kissing onscreen is very awkward because you have to worry about angles and you have to worry about where the camera is and you have to remember where your head was in this moment.

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.

There was never a day at West Point where I didn't ask myself, 'Where would I put the camera?'