A Quote by Jeff Perry

Everything about camera movement, about how film was made, shot architecture, and time management... I was horrible at all that. — © Jeff Perry
Everything about camera movement, about how film was made, shot architecture, and time management... I was horrible at all that.
If I'm ever working on a set and anyone talks about a master shot, I say there is no master shot. Before I even went to film school, I learned about movies by being in a British feature film, where everything was shot master shot, mid-shot, close-up. But I reject the idea of a master shot. You don't shoot everything mechanically; you find imaginative ways that serve the action.
The film camera's ability to physically move through space, not zoom through space - every time we have a video camera the movement is through zoom; every time we have a film camera it is a physical movement.
Silence Of The Lambs? is a ?fantastic? film. It's a horror film, and it's an incredibly well-told film that is about point of view in such a unique way. The way that film is shot, the way the eyelines are so close, if not directly into camera, betrays an intimacy with the characters and the audience.
To spend any time with someone who is among the top five film composers of the last 50 years is pure gold dust. I mean, not necessarily stylistically, because everyone is different in what their music sounds like, but the approach and how to look at a film, how to think about a film, how to decide what you want to do, how to think about characters, how to think about art, how to think about narrative, how to liaise with producers, how to liaise with directors.
I call it an ensemble cast or the world of 'Gulabo Sitabo' which is about the lifestyle of my characters. I just go and sit there in a corner and observe these characters through my camera. That's how I shot the film.
Close-Up is a very particular film in my oeuvre. It's a film that was made in a very particular way; mainly because I didn't really have the time to think about how to go about making the film.
My photographs are not just about the instant of movement you capture in the camera. It's much more total, about constant movement that became static.
I don't worry about the last shot or the next shot. I concentrate. Every shot gets a clean slate. And when a shot is over, I wipe it out absolutely. Tell a joke or something. If you worry about how you looked, how well you did, you'll go insane.
I shot film with the Coen brothers on 'Hail, Caesar!' That's fine. I'm sentimental about film; I've shot film for forty years or something.
Every time I see a film or TV show, I think about how that composer made those choices and how that director envisioned music and how that could work onstage or in a film and how you could support that even further by putting lyrics to it.
One of the first decisions I made, as the director of "Hide and Seek," was that our film would be silent and use underscoring of original music that I was planning on composing. The decision was mostly predicated on knowing how time consuming the editing of dialogue can be and given the various locations we shot in, I didn't want to worry about having to mix room tones in such a short amount of time.
How I wished I'd have had a camera of my own, a mad mental camera that could register pictorial shots, of the photographic artist himself prowling about for his ultimate shot - an epic in itself. (On the road with Robert Frank, 1958)
A camera is a camera, a shot is a shot, how you tell the story is the main thing.
There's two aspects of film crafting that I'm very strict about, and that's how I move my camera and where I cut the film.
Never talk to a client about architecture. Talk to him about his children. That is simply good politics. he will not understand what you have to say about architecture most of the time.
You're watching the movie for the first time when you're working with the actors in front of the camera. You don't think about how the audience will react. You discover the film.
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