Top 97 Cinematographer Quotes & Sayings

An action choreographer is kind of like a dance choreographer. You choreograph the moves and you let the director, cinematographer take into positioning their cameras.

I should mention Vittorio Storaro, who was Bernardo Bertolucci's cinematographer. You watch those films and they are exceptional.

It's a very tricky relationship, the cinematographer and the director as a woman.

I was the one who kept telling my second husband he should become a cinematographer. I paid for him to get his director's card, and he went on to make 'Godspell.'

As a cinematographer or director, I'm always looking for projects that are able to say a lot with the actor's expressions.

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.

The biggest challenge of any cinematographer is making the imagery fit together of a piece: that the whole film has a unity to it, and actually, that a shot doesn't stand out.

The cinematographer's basically translating the director's vision into imagery.

I want to try and be as involved in the art of filmmaking as possible. I feel that the only way to really do that is to take on as many roles as possible, whether it be as an actor, an editor, a director, a cinematographer.

I know how a cinematographer wants to be treated by their director, and so I already have a leg up in that department, and I know what would be insulting to say to a DP because I've been one for so long.

When I was in pre-production for Trees Lounge, I was hearing the cinematographer talking with the production designer about colours and this and that, and feeling like I was losing control.

I thought of learning cinematography, so I assisted a cinematographer for an ad.

I've spent a lot of time in India. When I was a young cinematographer, I was completely enthralled by the color, the movement, the sounds. But photographically, it was very hard to capture it; photographs rarely did it justice.

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.

When I went to Jamia, I thought I wanted to be a cinematographer or photographer because I liked telling stories in pictures, but my teachers explained that if you want to tell your own stories then that is what a director does.

Every cinematographer I worked with had his own way of solving problems.

In comics, the writer is also the director in a certain way. So if this were a film, you wouldn't tell the cinematographer to make a good fight scene while you go and get a cup of coffee.

Usually, if you notice good cinematography, then the cinematographer's failing. I try to make light feel like it's always motivated and natural in some way and hope that the lighting goes unnoticed.

I was not getting work, even after auditioning for films. So I started working in a studio as a photographer; I assisted a cinematographer for two ads. I was thinking that I will get into photography or cinematography or assist someone. But then the 'Dangal' offer came, and I was busy with the auditions.

There's always the temptation, as a cinematographer, to make the shot look as perfect as possible.

The way you present a stunt is tied in to the way you photograph it, so you're hanging out with the cinematographer.

When you are interviewing someone, don't just write down what he says. Ask yourself: Does this guy remind you of someone? What does the room feel like? Notice smells, voice inflection, neighborhoods you pass through. Be a cinematographer.

But at heart, I am more than a cinematographer.

Back-light is the cinematographer's friend.

I have always wanted to be either a cinematographer or a veterinarian.

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.

I don't know one lens from another. That's not my job. It's the cinematographer's job. But I can talk to people.

I'm usually known for films that look beautiful and attractive, probably because I am a cinematographer too.

As a cinematographer, I was always attracted to stories that have the potential to be told with as few words as possible.

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 was at film school when I made 'Small Debts' and I was a cinematographer, so I didn't actually study to be a director.

Effectively, as a cinematographer, I am always on the lookout for a project that makes me want to go to the cinema.

Being a cinematographer taught me a lot. I got to expedite the visions of many directors and learned how to navigate many styles and worlds.

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.

Yes, my uncle wanted me to be a cinematographer and he was disappointed when I gave up that dream to become an actress.

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.

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

When I was in pre-production for Trees Lounge, I was hearing the cinematographer talking with the production designer about colours and this and that and feeling like I was losing control.

I came up the old-fashioned way - tea boy, cutter, focus-puller, cinematographer - but I wasn't myself old-fashioned.

'La Notte' is my favorite of the Antonioni pictures and my favorite work of the master cinematographer Gianni di Venanzo, who also shot '8 1/2' for Fellini.

My crew [on "Fitzcarraldo" filming] actually said, "We have filmed it from outside on the rocks of the shore. We should be on board [the ship]," and I said it's dangerous, I only do it if you cinematographer Thomas Mauch and you actor [Klaus] Kinski decide on your own.

My main goal was to be a cinematographer. I was making short films, and the plan was to keep uploading them on Twitter and build a fanbase there. One day, I just started making music for fun. When I made 'Dat $tick,' it blew up, and I saw the potential in that.

My favorite part of the whole filmmaking process is working with a fantastic cinematographer, a fantastic actor or actors, and then just creating emotions and stories. I get so excited by that. That's the part I'm utterly addicted to.

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.

For a cinematographer, every frame has to be important.

A period film is a gift for a cinematographer.

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.

I think I learned a lot on Beaches. A guy I worked with Dante Spinotti is a wonderful cinematographer and it was his first picture and he went on to be nominated for an Academy Award for "LA Confidential" which was great.

A cinematographer is a visual psychiatrist, moving an audience... making them think the way you want them to think, painting pictures in the dark.

The cinematography was of course incredibly important to me because I graduated as a cinematographer.

A lot of times, I'll resist the temptation to visually define a movie until, one, I really understand just what the movie's about, and two, until I start talking to my cinematographer.

The art of making films is a collaborative art. As a composer, you're always working with the cinematographer because he's so much the heart of the world they've created on film.

Really, anyone in the business who transitions into directing as a writer or editor or an actor or a cinematographer, at some point you have to kind of take a leap and say, 'I'm committed to this.'

I really do believe that the experience of having a child is going to actually make me a much better cinematographer.

Laszlo Kovacs was marvelous. He was very much in the same school as Bill Frake, who was, of course, a great cinematographer as well. They had a very similar style and similar sensibility.

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.

I was interested in photography from my college days and wanted to become a cinematographer.

When you work as a cinematographer, the actors look to you for reassurance. When you're lighting them, they can never think you're making an adjustment because of the way they look. If they are nervous, it impacts their performance, which impacts the story.

The way I work with my cinematographer is not based on general principles, but the ideas are triggered by the locations where we shoot.

I was very glad later when I was directing that I wasn't in the hands of a cinematographer and hoping that he would do it well. I would know what he was doing, and we could discuss how that scene would look.