Cinematic Tone Quotes

'Suburbicon' feels like a last gasp of some kind of middle. It thinks it's both frivolous and serious. But, for that, you need a touch that George Clooney's never had.

Spike Lee is a master of tone, so basically, if he wants to do something, he should do it, and Imma listen.

None of my films are 'Pollyanna.' They're not little deers walking around with butterflies and stuff. That's not what I do.

In the evolution of the [The Hunger Games] movie, Gary [Ross] and I talked a lot about tonal bandwidth and making sure that the look and feel and style and choices of the movie stayed within a certain consistent bandwidth.

All my movies, as I get the ability to do it, they tend to go a little darker, a little darker.

The tone is so important to a film, and that tone can really make something fall or succeed.

I think I saw 'Rushmore' my senior year in high school. You know, Wes Anderson and Owen Wilson, there's such a voice to those movies. It's not like 'Die Hard' where it's like, 'Oh, this is an adventure. It just happened.' It's like you can hear the voice. I was like, 'Oh, I want to do that.'

The thing I do miss about the way some sequels were in the past was that each film felt like its own unique, complete tone. Now, sequels are tonal facsimiles of the ones before them, like a television series, whereas back in the past sequels would often be radically different from the ones before.

My movies are very often violent and dark, but there's a spectrum of light, and that light is coming from the women.

It's the same assignment on every part: you want to create a real world, and the tone of it is a little different on each movie. You have to find your tone and work within that to make it as real so the audience can really engage in the story you're telling.

When I'm directing films, I mostly try to create an environment on set that mimics what's in my mind as to the tone and feel of things. I try to create a place where you feel that anything's possible.

The actors are the greatest executors of tone in a film. They're the most important cinematic component.

As delicate as 'Guy and Madeline' was, it was important that 'Whiplash' come off as more of a fever dream.

In Tim's films, more than most, if you miss the tone, you don't get the film.

In the past, the movies I've made are perceived as dark, but a lot of comedies are way darker.

I'm always inspired by other filmmakers, whether it's a shot or the way they handle tone.

At LAIKA, we try to find an artful balance of darkness and light, intensity and warmth, and humor and heart. The idea of being able to bring that philosophy to 'Bumblebee' was really exciting.

I will watch a movie that is quote unquote dark and not get the qualification of what is dark and what is not.

Audiences trust Westerns when you hit the right tone. I think they're not in vogue, but they will always be in vogue when you hit the right note.

I didn't want 'Mudbound' to feel stylized in any way.

Music can help uncover that tone that's in the fabric of the movie. Sometimes it's very plain to see, sometimes it's not.

There is a magic thing called 'tone' in a film, that the director must master and maintain.

When I think of Hungarian films, I think of despair and bleakness, and what's more, despair and bleakness of indefensible duration.

I hope that 'Gambit' doesn't take ten years, but it takes a little honing to get that tone and that voice exactly right. The character has such a specific voice in the comic, in the same way that Deadpool has a specific voice in the comic, that we want to make sure that we capture that voice on the page.

What's hard in movies is to have a consistent tone throughout a movie. Whatever that is.