There's a shot that I designed to try and illustrate the scale of the Death Star that's sort of framed in close on the equatorial trench as Krennic's ship is leaving. The camera's pulling back, and you start with it framed so you can kind of see those docking bays that are in that trench.
I made a big mistake with him the first day I shot. We're shooting the scene where I come back from the party, the dance, in the sleigh with Julie Christie and we turn the corner and go past the camera and the camera follows us just a little bit and we disappear.
Actors' performances in films are enhanced in a million different ways, down to the choice of camera shot by the director - whether it's in slow motion or whether it's quick cut - or... the choice of music behind the close-up or the costume that you're wearing or the makeup.
I'm not wild about hand-held shots.
I learned not to blink in a close-up or move your head at all, because if you did, they wouldn't use it.
[Kevin] Costner said, "You don't have to do that... this is a wide shot, so you can calm down."
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.
I think a shot can actually influence a scene in a huge way. For example, comedy is always better in a two-shot. What's between the characters is what's funny. So you learn about these things as you go along.
