A Quote by Reed Morano
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.
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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 probably learned, being in 'Taxi Driver' before I made my first film, I would come to the set every day just to watch how that film came about. It's like a graduate course: it's terrific. You talk to the cinematographer during the breaks. You ask the electrician why they are doing this.
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.
A lot of the time with an independent production, you go onto the set, and you rehearse it in front of the crew, and at that point, the cinematographer takes over. You start accommodating the camera instead of the camera accommodating you.
I was at the National Film School and was a cinematographer there. I got quite a lot of experience on documentary film-making and with directors who were interesting - maybe they weren't using scripts or were using non-actors.
The digital process gives me total control over how I want the film to look. The films look like they did when I was first looking through the viewfinder.
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 difference between a regular camera and a 3D camera, for an actor, is really no different except that the turn-arounds are longer. It takes a lot longer to set up a shot because the cinematographer is really trying to set up a whole world, so it can't be more intricate and more beautiful to the viewers, in 3D.
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.
When I was in college, I wanted to study film. My first passion was to be a cinematographer. So maybe there's something innate in my music where it partners well with images.
A period film is a gift for a cinematographer.
The cinematography is as much involved with the physicality of the scene, so a lot of our shots are hand-held. I felt the cinematographer needed to be the fourth-character with the same drive as the actors
As a cinematographer or director, I'm always looking for projects that are able to say a lot with the actor's expressions.
I wanted to be in film. I wanted to be a film student, possibly be a director or cinematographer, not an actor. That was my goal. I didn't believe I had the physical beauty that I'd seen projected and advertised in movies, in theater. It just wasn't for me.
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.
A Leica camera is a camera we can keep both eyes open. You can look for the free eye that doesn't look to viewfinder and in all directions. It's like backwards - and sometimes also backwards, and you can look for the viewfinder and see your picture.
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