A Quote by Patricia Riggen

It's a very tricky relationship, the cinematographer and the director as a woman. — © Patricia Riggen
It's a very tricky relationship, the cinematographer and the director as a woman.
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.
Trying to make something as tricky as 'Room' really believable is extremely hard, and it largely rests with that relationship between the actors and the director, and the director and the crew.
There always comes a moment where all the departments in a film need to work together. And if a director, his first assistant director, and cinematographer have a very clear vision, then everybody does work together.
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.
To be a great director, what does it mean exactly? It's not only about a great director, but also about being able to rely on the very special chemistry that goes between them. It not only has to be a great director, but the great director has to make his relationship to you, the actor, very special.
Basically, editing is done in rehearsal and in the writing process and in the acting, so it's very, very tricky, very, very tricky.
I was very interested in the relationship between the man who speaks and the woman who listens. I was drawn to the idea that the relationship between a man and a woman can be something like a war itself, very cruel and violent.
The relationship between an actor and a director is like a love story between a man and a woman. I'm sure sometimes I'm the woman.
The cinematographer's basically translating the director's vision into imagery.
I hope that in another way we can move the need to say, instead of being a Black director, or a woman director, or a French director that I'm just a director.
Every relationship should eventually become a long-term relationship. Any director that I meet now isn't just a director. He's potentially a friend, and someone I can call to do a project that I want or that I have.
I was at film school when I made 'Small Debts' and I was a cinematographer, so I didn't actually study to be a director.
The secret is to get a good cinematographer and a very good assistant director. If you get those and stay out of their way, and have good actresses, the script doesn't even have to be that extraordinary.
I had done it all in my career. I always felt, as a kid, that that's what a director needed to be. Hitchcock could do anything in my mind. He's the director. That person has to be the best actor, the best designer, the best cinematographer. Then I came to realize that isn't the case. You just need to surround yourself with the best.
As a cinematographer or director, I'm always looking for projects that are able to say a lot with the actor's expressions.
Every relationship should eventually become a long-term relationship. Any director that I meet now isn't just a director. He's potentially a friend, and someone I can call to do a project that I want or that I have. That's what I mean when I say branding and developing yourself, as a business.
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