A Quote by Lexi Alexander
Back-light is the cinematographer's friend.
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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.
I grew up as a cameraman, so it's much easier for me to shoot it myself. I work with an operator and a crew, but it's way easier for me to function as a cinematographer, than to have a cinematographer between me and the lens. I don't need that.
LIGHT FROM WITHIN my friend, cancer got you damn it: you had it beat for seven years at least. how did it come back? Why all that pain. again. and you, such a fighter you fought me over and over with tears and words and promises. you fought for me with honesty and a light so bright it hurts my heart. sweet lorna. at peace now finally no more battles, just light from within a flickering candle in the dark burns with you.
Usually, if you notice good cinematography, then the cinematographer's failing. I try to make light feel like it's always motivated and natural in some way and hope that the lighting goes unnoticed.
As the cinematographer is usually more visual than the director is and full cooperation is really the answer and to make a great film, you need a good director and you need a good cinematographer.
I'm the most experienced cinematographer in this medium, so there's no point in having that extra conversation in the middle of the loop. You're making the film in relation to what's happening now, and you can't really affect what's happening now. It's not like you're in control of anything in front of the camera. If you're calling yourself the director and you're not the cinematographer, I think you're kidding yourself.
I don't know how much thought is behind it, but it seems to me highly effective the way that Facebook will let somebody tag a photo with a friend's name, then others who are a friend of that friend can perhaps immediately see the photo, and the friend, in the meantime, has a chance to wander back and un-tag it.
A friend gives hope when life is low, a friend is a place when you have nowhere to go, a friend is honest, a friend is true. A friend is precious a friend is u.
So we got there at 6 a.m. We'd be shooting by 6:45. We wouldn't break for lunch, we'd just pass food around all day. And we would just rock and roll 'til 4, then Matty Libatique, our great cinematographer, would say, 'Outta light, guys' - and that was it.
When shooting in real spaces, the work of a cinematographer begins where location meets production design meets time of day. No movie light will ever look as real as the sun, so scheduling becomes truly paramount to naturalistic lighting.
Greek architecture taught me that the column is where the light is not, and the space between is where the light is. It is a matter of no-light, light, no-light, light. A column and a column brings light between them. To make a column which grows out of the wall and which makes its own rhythm of no-light, light, no-light, light: that is the marvel of the artist.
Never expect a loan to a friend to be paid back if you want to keep that friend.
A friend is more concerned about helping people than getting credit. A friend cares. A friend loves. A friend listens. And a friend reaches out.
My only boss was the clock on the wall and my only friend, never really was a friend at all. I've traded love for pennies, sold my soul for less. Lost my ideas in that long tunnel of time. And I've turned inside out and around about and back and then found myself right back where I started again
Look as long as you can at the friend you love,
no matter whether that friend is moving away from you
or coming back toward you.
TV deals in very broad strokes. Like, 'Oh, that's my dumb friend', or, 'That's my funny friend.' A true best friend, a sidekick, has to be a little deeper then that. You have to feel like there's nothing either character won't do. That someone really, really has their back.
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