I feel every shot, every camera move, every frame, and the way you frame something and the choice of lens, I see all those things are really important on every shot.
As important as it is to learn the techniques of cinematography, you also have to learn how to deal with the movie set, with show business. I came up with a cinematographer who is very talented, but she was never quite able to handle everything else you have to do - dealing with the producer and the crew and the time frame that you have to follow.
I sometimes say to people, "I am a window frame - no more. The window frame is not that important. What is important is the light that comes through the window.
It is no longer important for me to be seen in every frame.
The balance of the frame - the way an actor is relating to the space in the frame - is the most important factor in helping the audience feel what the character is thinking.
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.
Without doubt, in animation each frame is important, every movement defines the character.
When I go on set, it's very important, the lenses I choose, what I choose to frame or not frame and that's how I make my movies.
The cinematography was of course incredibly important to me because I graduated as a cinematographer.
How do I define God? I don't.... People who find such conceptions important for themselves have every right to frame them as they like. Personally, I don't.
The truth is, no matter how modest Steven [Sebring] is, he was obsessed with the outcome of the film [Dream of Life]. Every single frame was important to him.
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.
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.
Every cinematographer I worked with had his own way of solving problems.
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.
Though every legal task demands this skill, it is especially important in the effort to frame public policy in a way that is properly responsive to human needs and predicaments. The question is always: How will the general rule work in practice?