Consistent style prevents presentation from getting in the way of content.
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.
As an adult, there are technical aspects of filmmaking you understand, like having to pick up a cup on the same line every time.
When you're a film-maker, sometimes you have to be a slave to continuity.
One of the things I've always personally tried to stress with this band was to have some kind of visual aspect and to be consistent with it - like, not to change.
The style of ancient Egyptian art is transcendently clear, something 8-year-olds can recognize in an instant. Its consistency and codification is one of the most epic visual journeys in all art, one that lasts 30 dynasties spread over 3,000 years.
Once you establish a look, and once everybody recognizes that look as your look, you never have to think about fashion again.
When you are shooting over a period of six months, you tend to forget how dark or bright it was. And when you are using different technologies, having a look book helps during the final grading of the film. So you can design what the film is going to look like even before the colouring process begins.
I love making my Instagram look cohesive - look like a Tumblr page almost. When they all make sense colorwise, or when you add those white borders to them, it makes them look cleaner. Clean and precise.
We won't do something different for different's sake. Designers cave in to marketing, to the corporate agenda, which is sort of, 'Oh, it looks like the last one; can't we make it look different?' Well no, there's no reason to.
I grew up really into comic books, and I actually thought I was going to be a comic-book artist. That was my ambition before I realized I couldn't keep characters looking the same from panel to panel.
Hopefully with digital projection, a film will always look the way the filmmaker intended.
If it's on Facebook, it all looks the same.
The process of working with the second unit director and basically sharing your workload with another director is such an interesting, delicate thing - and entrusting that person with your vision and making sure that you are not adding a completely different aesthetic to the mix that you don't have to contend with in editing.
Some of our stuff ends up looking too corporate. I'm going to be a lot stricter from now on.
Through the years, I've developed a style or a language that I like, even when it applies to action. All my action principles are very similar to my cartoony principles, because all the poses want to be really strong.
There are some images that I will only use once, and not use again because they don't seem to really hit the nail right on the head, but there are some which are so strong they have to be reduced; sometimes just reusing them makes them stronger.
The intention was to shoot short films that can exist as shorts independently, but when I put them all together, there are things that echo through them like the dialogue repeats; the situation is always the same, the way they're shot is very simple and the same.
I feel like if you flip through my Instagram, you'll kind of see the same angles and poses every time. That's the trick to having people love your Instagram selfies. It's all about your angles.
A lot of fashion photographers will do the same sort of image for many years; it's easier to be successful if you do that.
Animation translates well to a small screen. When you look at Walt Disney or Chuck Jones - you know, Bugs Bunny - there really isn't any difference if you watch on a very big screen or a computer screen.
There's some projects you're - where you're worrying that the continuity isn't right because people aren't watching after your hair or wardrobe or props, or you're not sure you're getting shot at the right angle.
Actually, I look the same in real life as I do in the movies.
A reader should be able to identify a column without its byline or funny little picture on top purely by look or feel, or its turgidity ratio.
The computer tends to equalize everything, all the movies are slowly blending together, the way they look.
