A Quote by Greig Fraser
I'm confident that the wrong cinematographer on a project can very much derail the mood and the feeling on set when you're trying to create a bubble of trust, effectively.
Related Quotes
Effectively, as a cinematographer, I am always on the lookout for a project that makes me want to go to the cinema.
When you're trying to create imagery, you're trying to create a feeling or a mood.
The effect of scent is really interesting. It can create a mood and change a feeling immediately. I wanted to create a modern wardrobe of fragrances ... fragrances that can be very personal to the woman who's wearing them.
If you think about it, for almost any moment, any mood that you might be in, there's probably a Beatles song that will address that mood, that feeling, that set of emotions. I don't know that that can be said about very many groups, if any.
Research, for me, it's trying to get a mood, a mood of a place and style of people and it's also trying to boost my confidence and get the adrenalin flowing. I go off on my trips to odd places and dark corners, feeling somewhat apprehensive and nervous.
When I got on my first set, I watched what the cinematographer was doing, and at that level in film school, the cinematographer has the most control. They're the one looking through the viewfinder, carrying the camera, framing the shots.
What I'm trying to do with Thrizzle is create the experience of a humor magazine, even if it's just one person. So that's involved me trying to simulate different styles and create a feeling of some contrast and variation, which is obviously very different from Snake 'N' Bacon.
My style is super versatile and doesn't pertain to any one category. It can be best compared to a mood ring. It is very dependent on the mood I am feeling for the day.
When you do the wrong thing, knowing it is wrong, you do so because you haven't developed the habit of effectively controlling or neutralizing strong inner urges that tempt you, or because you have established the wrong habit and don't know how to eliminate them effectively.
To me, achieving tone, achieving consistency, is exactly the job of a director. It is to be the fusing, the nexus of a whole bunch of people contributing to the complex life of a movie. There are actors, there's a cinematographer, there're costume people, set people, there are all these things, and you somehow have to be the person in the middle of it who is making it all synchronize into the same magic bubble.
Lighting is not about function. It's much more about the mood and the emotion that the playwright and the director are trying to create. Our job is to support their poetic direction.
My mood has changed now. And the sun has gone behind the clouds. I'm in this mood I feel occasionally... this mood where there's a very good friend nearby who I should be phoning. If only I could reach that friend and talk, then everything would be just fine. The dilemma is, of course, I just don't know who that friend is. But in my heart I know my mood is merely me feeling disconnected from my true inner self.
When people are supporting each other and trying to get the most creative energy, it just creates a much better project and there is a feeling of success there.
I love Michael Anthony. We met on set for a shoot and ever since then he has been my guy. We don't do too much conceptualizing - it's usually just a vibe we are feeling based on the wardrobe or mood of the shoot, and we go from there.
When I go on the set, I'm so rushed. When I see the actors at rehearsal, when I love it, I want to keep the mood - my mood and the actors' mood also. So I have to push the crew faster. I don't want to lose the mood.
When I said yes to doing 'Queen's Gambit,' I was feeling burned out on directing and movie-wise wasn't sure what my next big project was going to be. So I said yes to doing this very different type of project that required a different skill set from me, sort of just to shake things up, if anything.
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