A Quote by Roger Deakins
I don't really believe in the mystery of cinematography - what happens in the camera is what the cinematographers create and all that nonsense - I want the director to see what I'm trying to do.
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I don't really believe in the mystery of cinematography - what happens in the camera is what the cinematographers create and all that nonsense.
I started out with this dream of being a director and doing cinematography and bought my first film camera at 15.
Ever since the invention of the camera, people have been trying to create 3D, because we see things in 3D, and everyone's aware that the camera doesn't.
Two types of films: those that employ the resources of the theater (actors, direction, etc...) and use the camera in order to reproduce; those that employ the resources of cinematography and use the camera to create
Cinematography is so much about instinct and intuition - you want the same range of experience going into behind the camera as what you see in front of it. Your life experience will come through the lens.
I operate the camera, I always do it when I'm the director, and I like to approach it as a documentary, finding the images based on what happens, as it happens.
A deeper truth the camera can see can be more surprising than even the director imagined it could be. That's a wonderful thing that grows and happens in films.
The terrible tragedy for every director is to watch an actor do what you want and not have the camera rolling - and never get it back again. So I always try to roll the camera before anybody's really ready.
When the photographer is nearby, I like to say, 'Quick, get a photo of me looking into the camera,' because I'm never looking into the camera. Christopher Nolan looks into the camera, but I think most directors don't, so whenever you see a picture of a director looking at the camera, it's fake.
I believe that I can create whatever I want to create. If I can put my head on it right, study it, learn the patterns, and - it's hard to put into words, it's real metaphysical, esoteric nonsense, but I feel very strongly that we are who we choose to be.
See human nonsense as nonsense and save years of trying to make sense out of it.
If you're doing nonsense it has to be rather awful, because there'd be no point. I'm trying to think if there's sunny nonsense. Sunny, funny nonsense for children — oh, how boring, boring, boring. As Schubert said, there is no happy music. And that's true, there really isn't. And there's probably no happy nonsense, either.
You want to give the director what they want, and you don't always know exactly how it goes, so you want to try it a few different ways. You have to be flexible; you have to be in collaboration with the director; you have to be versatile. But you also want to be protective of what you really believe in and how you feel it should be portrayed.
By this method thousands of humans have been brought to think that humility means pretty women trying to believe they are ugly and clever men trying to believe they are fools. And since what they are trying to believe may, in some cases, be manifest nonsense, they cannot succeed in believing it and we have the chance of keeping their minds endlessly revolving on themselves in an effort to achieve the the impossible.
When you see a bad romantic comedy, you see the script, the director, and the actors trying to create this warmth and this pathos and this feeling that you care about them. That cannot be manufactured - it's either there or it isn't.
I've worked with some of the great cinematographers. So I'm always watching what they do and I'm watching how the director composes his shots, just because I find it interesting as an actor; you're trying to help them out as well.
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