A Quote by Alfonso Gomez-Rejon
As a director who loves the camera you learn a lot.
Related Quotes
You never learn to act in front of a camera. You never learn anything in front of a camera. But you learn to act in a rehearsal room with a good play and a good cast and a good director.
When the photographer is nearby, I like to say, 'Quick, get a photo of me looking into the camera,' because I'm never looking into the camera. Christopher Nolan looks into the camera, but I think most directors don't, so whenever you see a picture of a director looking at the camera, it's fake.
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.
I take bits and pieces from every director. I'd say Sylvain [White] and Nimrod [Antal]. They were more about teaching me lens sizes and depth of field and how to move the camera and lighting. I do want to direct and I didn't go to film school, so having a director that are very much hands on that way and looking to let me learn, that is a key factor.
(a womanist) 3. Loves music. Loves dance. Loves the moon. Loves the Spirit. Loves love and food and roundness. Loves struggle. Loves the Folk. Loves herself. Regardless.
Some people say the camera loves me, the truth is, I love the camera.
There was a choice of being a director who's more familiar with the technicality of doing a movie, like learning about the camera and filters and setup, or being a director who can actually talk to actors. And I always wanted to be an actor's director.
Being on a show like 'Fear the Walking Dead,' I started to learn more about camera work, learn more about the way the crew operates, and had more of a stronger opinion on how I think a television director can operate in the healthiest way.
You learn a lot about acting and being physical and being on stage, but there is technical stuff on camera that you can't learn until you do it.
Of course, you can never watch something like somebody else watches something like you, but nonetheless, you have to try. So I think on camera you learn a lot about how much the camera does for you, which is what is the great luxury of movie acting. Or acting whether it's TV or movies or whatever it is, that the camera's really such a gift because there's so much that it sees and does if you're willing to just be open and expose yourself and all of that. So you also learn what doesn't matter. And sometimes when you think about things, you think things matter that don't matter.
Composition is what's similar between being photographer and director. As a photographer, you're sort of doing everything - you're directing the lights and you're framing and you're moving around. The hardest thing to learn as a director is how cameras have to move. You have to have patience, you have to learn how to look through the lens and then you have to learn to combine all of the compartments into one great image.
When you trust the director you want to trust his or her choices. I don't want to say, 'No, I don't like this girl or that guy," when the director really loves them. No, you want to go with what the director likes.
When I move from being a cameraman to being a director I looked at a lot of other cameramen who tried to make the move. And in each case they moved up their camera operator to be the DP, which really meant they didn't want to give up being the DP, and really wanted to do both. And my feeling was if I was going to succeed as a director, I had to just be a director and give up the safety net of being a cameraman.
I suffer from a more complex, persistent fear. It manifests itself in nerves, and on film the camera sees even the tiniest evidence of this. So you have to learn that when the director calls 'Action,' you don't go to this place of tension, but somehow you become free.
Every film you work on is different, and that's part of what it's like for anybody who works on a film, is to learn how to work with others. Learn from top to bottom. Actors have to learn how to work with the director and the director has to learn how to work with actors, and that's not just those two departments.
You can give the greatest performance possible, but if you don't have a director who's pointing the camera in the right direction and an editor who's editing it properly, it doesn't matter what you do. The director and the editor are the most important people. Not the actors. Sometimes the writer is important. But if you don't have a good director, you can't have a good production.
Related Authors
Benjamin Disraeli Quotes
British
Celebrity
Bertrand Russell Quotes
British
Celebrity
Bobby Fischer Quotes
American
Celebrity
Fred Rogers Quotes
American
Celebrity
G-Eazy Quotes
American
Celebrity
Garry Kasparov Quotes
Russian
Celebrity
Gary Johnson Quotes
American
Celebrity
Jimmy Carter Quotes
American
Celebrity
Joe Buck Quotes
American
Celebrity
Jonathan Franzen Quotes
American
Celebrity
Ken Wilber Quotes
American
Celebrity
Kim Kardashian Quotes
American
Celebrity
Lord Chesterfield Quotes
British
Celebrity
Paris Hilton Quotes
American
Celebrity
Richard Simmons Quotes
American
Celebrity
Tom Petty Quotes
American
Celebrity