A Quote by Pascal Chaumeil

I like the idea of having a film that is choreographic in all its aspects, not only in the dancing scenes, but also in the way the camera and the characters move in order to have that feeling that it's always musical.
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.
I've been dancing since I was two, learning so many different styles. I like dancing to rap and hip-hop, but also the Strokes, the Hives, and the Vines with carefree randomness. There's always a way to move to something.
I'd like to use IMAX. The problem with IMAX is that it's a very loud camera. It's a very unreliable camera. Only so much film can be in the camera. You can't really do intimate scenes with it.
What I loved about the 1950s is that there is an aesthetic to even the average film. The way the camera is placed, the way characters move, the way you dressed the sets, the respect for craft and actors, I do miss that in today's films.
I like 'Girlhood' because it has this universal feeling, and that's also the project of the film, to bring very contemporaneous characters into the big fiction, and the classical idea of a heroine's emancipation.
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.
I think the camera was always my obsession, the camera movements. Because for me it's the most important thing in the move, the camera, because without the camera, film is just a stage or television - nothing.
I like having the digital camera on my smart phone, but I also like having a dedicated camera for when I want to take real pictures.
The short story is so much about inevitability and this feeling that things always had to be this one way, and I wanted the apocalypses to blow that idea apart. I hope it feels that way. I hope the book invites people to read the stories in order and then, if they feel like it, maybe not read them in order the next time.
Tap dancing is like... it's equivalent to music, not only for the African American community, but also for the world. Tap dancing is like language; it's like air: it's like everything else that we need in order to survive. I'm blessed and honored to be knowledgeable of the art form and to be a part of the art form.
We have African-Americans and black people getting behind the scenes more and more, we get true black images in television and film...because we have black people behind them. They can tell stories from those points of view and bring to life those characters who have yet to be shown. As long as we have people behind the camera just as much as in front of the camera doing the work, then we'll always be good.
I always have traveled with a camera throughout my life, but I always had my old 35mm film camera. When I was training to go into space, the only equipment there was a digital camera. I went through a fast-track class on Earth. It actually was fun, though I'm basically a dinosaur with computers.
One of the major aspects of film composing is that it's not so much a musical thing as it is communicating your ideas with the director, who often does not come from a musical background.
There are certain scenes in the edit you're playing with it and certain scenes don't put back together the way you imagined. Sometimes they're better and sometimes they don't have that thing, so it's never foolproof. But you certainly get an idea that here we've got enough and we've got to move on because you're always against time and money there. Whatever the budget is, you have to get practical about it.
Grace does not work like a penny in a slot machine. Grace will move you only when you want it to move you, and only when you let it move you. The supernatural order supposes the freedom of the natural order, but it does not destroy it.
Opera is a musical scenery, a musical atmosphere in which the characters move and talk.
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