The ever-present challenge for the director of photography is how to give each new picture a new and different camera treatment-- a fresh viewpoint, camera-wise. Lest he repeat himself and fall back on old techniques, the cinematographer is continually challenged to dig deep into his bag of tricks so that his photographic technique does not become stagnant.
- Boris Kaufman, ASC
From American Cinematographer article "Filming "12 Angry Men" On A Single Set, December 1956.
I read, discuss, and discover new things about cinematography everyday. Most of it, I consider incredibly interesting. Everyday I will share one of those things, maybe more if I have time.
Showing posts with label quote. Show all posts
Showing posts with label quote. Show all posts
20.7.09
Vilmos Zsigmond: Students, Passion & Regret
From American Cinematographer, A Transcendent Career Foretold by Bob Fisher (February '99)
"I encourage film students who are interested in cinematography to study sculpture, paintings, music, writing and other arts. Filmmaking consists of all the arts combined. Students are always asking me for advice, and I tell them that they have to be enthusiastic, because it's hard work. The only way to enjoy it is to be totally immersed. If you don't get involved on that level, it could be a very miserable job. I only have one regret about my career: I'm sorry that we are not making silent movies any more. That is the purest art form I can imagine."
- Vilmos Zsigmond, ASC
"I encourage film students who are interested in cinematography to study sculpture, paintings, music, writing and other arts. Filmmaking consists of all the arts combined. Students are always asking me for advice, and I tell them that they have to be enthusiastic, because it's hard work. The only way to enjoy it is to be totally immersed. If you don't get involved on that level, it could be a very miserable job. I only have one regret about my career: I'm sorry that we are not making silent movies any more. That is the purest art form I can imagine."
- Vilmos Zsigmond, ASC
Vilmos Zsigmond: Lighting
From American Cinematographer, A Transcendent Career Foretold by Bob Fisher (February '99)
"I think the most important thing about cinematography is lighting. That's how you create the mood that matches the story. The ability to light artistically is a gift from the gods. If you have the ability, you shouldn't waste it. You should be looking for ways to improve and grow."
- Vilmos Zsigmond, ASC
"I think the most important thing about cinematography is lighting. That's how you create the mood that matches the story. The ability to light artistically is a gift from the gods. If you have the ability, you shouldn't waste it. You should be looking for ways to improve and grow."
- Vilmos Zsigmond, ASC
Vilmos Zsigmond: Art of Film
From American Cinematographer, A Transcendent Career Foretold by Bob Fisher (February '99)
Zsigmond spent four years at film school, putting in many 14-hour days and six-day weeks. While he deplored living under the tyranny of the communist government, he learned some great truths from the head of the department, György Illes, and other faculty members.
"They taught us that a movie is only art if it has something important to say. It should be more than entertainment. It should have social value...
...My rule is that if a movie doesn't say something of value for the audience, I don't think it's worth making. You only have time to make so many pictures in your life. Maybe 75 percent of the time, you can tell if a film will be worthwhile when you read the script, but I've been fooled on occasion. There were times when I thought something was going to be a good movie, but it didn't turn out that way. There are so many things that have to come together — the actors, the director, the script."
- Vilmos Zsigmond, ASC
Zsigmond spent four years at film school, putting in many 14-hour days and six-day weeks. While he deplored living under the tyranny of the communist government, he learned some great truths from the head of the department, György Illes, and other faculty members.
"They taught us that a movie is only art if it has something important to say. It should be more than entertainment. It should have social value...
...My rule is that if a movie doesn't say something of value for the audience, I don't think it's worth making. You only have time to make so many pictures in your life. Maybe 75 percent of the time, you can tell if a film will be worthwhile when you read the script, but I've been fooled on occasion. There were times when I thought something was going to be a good movie, but it didn't turn out that way. There are so many things that have to come together — the actors, the director, the script."
- Vilmos Zsigmond, ASC
12.7.09
Stephen H. Burum: Self-Expectations
From American Cinematographer, Ringside Riddle by Stephen Pizzello (August 2008)
"An 11-year-old child could learn the mechanical craft of cinematography. The difference between cinematographers who do great work and those who just do okay work is some gift you have, some sense of taste. I think you’re always frustrated when you’re doing it, because you have this idea in your head and you can’t quite get there, even though everyone else says that what you’re doing is great. You’re always dissatisfied because you want more from the cinematography than you’re capable of giving. You can look at [fellow ASC member] Connie Hall’s films and say, ’This is just fabulous, I could never approach that’... But Connie Hall is tearing himself apart! Cinematography isn’t easy for anybody, and the more you do, the harder it gets."
- Stephen H. Burum, ASC
"An 11-year-old child could learn the mechanical craft of cinematography. The difference between cinematographers who do great work and those who just do okay work is some gift you have, some sense of taste. I think you’re always frustrated when you’re doing it, because you have this idea in your head and you can’t quite get there, even though everyone else says that what you’re doing is great. You’re always dissatisfied because you want more from the cinematography than you’re capable of giving. You can look at [fellow ASC member] Connie Hall’s films and say, ’This is just fabulous, I could never approach that’... But Connie Hall is tearing himself apart! Cinematography isn’t easy for anybody, and the more you do, the harder it gets."
- Stephen H. Burum, ASC
11.7.09
Janusz Kaminski: Directors & Taking Risks
From American Cinematographer, The Last Great War by Christopher Probst (August 1998)
“I’m learning more and more about lighting...But you have to be encouraged by the directors. They allow you make the choices that take the movies to a different level. Directors can allow cinematographers to advance to another level, because we all have that capability in us. Some are so scared of taking risks that they won’t allow their cinematographers to try something new. But you can create such powerful and meaningful images by taking chances. I’m talking about things like what Robbie MŸller [BVK, NSC] did on Breaking the Waves. Bob Richardson [ASC], Vittorio Storaro [ASC, AIC] and Malik Sayeed are also very experimental. Newton Thomas Sigel did some great work on Fallen. And what Harris Savides did on The Game was fantastic; I can’t wait to see what he did for [actor/director John Turturro’s upcoming film] Illuminata. We’ve all got the ability to do groundbreaking work, and nothing is stopping us from using very experimental techniques in a major Hollywood movie if the subject matter allows it and the director is willing to go there.”
25.5.09
Vittorio Storaro: Shooting Black-and-White
From American Cinematographer, Storaro and Bulworth by Garrett Brown (June 1998)
Regarding shooting black-and-white photography:
"It would be like having a piano with only three keys."
- Vittorio Storaro, ASC, AIC
Regarding shooting black-and-white photography:
"It would be like having a piano with only three keys."
- Vittorio Storaro, ASC, AIC
Warren Beatty: Making Movies
From American Cinematographer, Storaro and Bulworth by Garrett Brown (June 1998)
Warren compares making movies to repeated trips on a 747:
"You can't get off in mid-flight, so when people ask each other back it means there is a shared feeling of confidence and understanding."
- Warren Beatty
Warren compares making movies to repeated trips on a 747:
"You can't get off in mid-flight, so when people ask each other back it means there is a shared feeling of confidence and understanding."
- Warren Beatty
Robert Primes: Cinematographers' Contribution
From American Cinematographer, Penny-Wise, Image-Foolish? by Richard Crudo, ASC
"It's a shame that no one has yet found a device to measure the impact that beautifully realized images have on an audience, and by beautifully realized I mean photography appropriate to the story, not pictures of sunsets. We presume they're affected by the acting because they become fans of the performers. We presume they're affected by the music because they buy the soundtrack. If an audience simply likes the movie, most of the time they give all of the credit to the director. Though what we do isn't measured, anything that takes away from our ability to create mood and beauty through the cinematography hurts the entire package. The certitude of print dailies give you leads to vital, exciting work that pushes the envelope and supports everything else that's going on in the picture."
- Robert Primes, ASC
"It's a shame that no one has yet found a device to measure the impact that beautifully realized images have on an audience, and by beautifully realized I mean photography appropriate to the story, not pictures of sunsets. We presume they're affected by the acting because they become fans of the performers. We presume they're affected by the music because they buy the soundtrack. If an audience simply likes the movie, most of the time they give all of the credit to the director. Though what we do isn't measured, anything that takes away from our ability to create mood and beauty through the cinematography hurts the entire package. The certitude of print dailies give you leads to vital, exciting work that pushes the envelope and supports everything else that's going on in the picture."
- Robert Primes, ASC
Vilmos Zsigmond: Improv Lighting
From American Cinematographer, Learning to See by Bill Linsman (March 1998)
"August of 1976 was the first time I taught in Rockport. Rob Draper was my assistant. Those first few sessions were a bit haphazard; we were just feeling our way. For example, one time we were lighting a parking lot, and suddenly we had a blackout. The whole town went dark. There we were with the camera and lights, and the lights wouldn't work. I said, 'Wait a second. We can do something while we're waiting for the lights to come back on.' We had a lot of students who had their cars there, so we actually staged the scene by the headlights of the cars. People were crossing in front of the headlights, and their silhouettes were going in front of those lights, and the images were just beautiful. We came up with something out of nothing to show that in a desperate situation, you can use anything for a key light."
- Vilmos Zsigmond, ASC
"August of 1976 was the first time I taught in Rockport. Rob Draper was my assistant. Those first few sessions were a bit haphazard; we were just feeling our way. For example, one time we were lighting a parking lot, and suddenly we had a blackout. The whole town went dark. There we were with the camera and lights, and the lights wouldn't work. I said, 'Wait a second. We can do something while we're waiting for the lights to come back on.' We had a lot of students who had their cars there, so we actually staged the scene by the headlights of the cars. People were crossing in front of the headlights, and their silhouettes were going in front of those lights, and the images were just beautiful. We came up with something out of nothing to show that in a desperate situation, you can use anything for a key light."
- Vilmos Zsigmond, ASC
Freddie Francis: The Right Photography
From American Cinematographer, Cinematic Glory by David E. Williams (March 1998)
"There are no rules and there is no formula to filling the frame to please everybody. I've got this corny saying though: 'There are three types of photography: good photography, bad photography, and the right photography. The right photography is what tells the story best.'"
-Freddie Francis, BSC
"There are no rules and there is no formula to filling the frame to please everybody. I've got this corny saying though: 'There are three types of photography: good photography, bad photography, and the right photography. The right photography is what tells the story best.'"
-Freddie Francis, BSC
Freddie Francis: Cinematography & Technology
From American Cinematographer, Cinematic Glory by David E. Williams (March 1998)
Looking back on his career, Francis ponders the technological changes that have been made since his start in the 1930's. Scoffing at the notion that cinematography is an inherently technical field, he offers,
"If someone says to me, 'I loved that shot, how did you light it?', I'll think they've lost the point. My explanation doesn't mean a thing because there are 20 ways to light a shot and get the same result. Why you do something is far more important than how."
- Freddie Francis, BSC
"The cinematographer is a storyteller, and his main job is to communicate with the director and get his ideas on screen. I just always insist on having a wonderful operator and wonderful gaffer. I can tell them what I have in my mind and they'll know what to do, with me just adding a few touches later."
- Freddie Francis, BSC
Looking back on his career, Francis ponders the technological changes that have been made since his start in the 1930's. Scoffing at the notion that cinematography is an inherently technical field, he offers,
"If someone says to me, 'I loved that shot, how did you light it?', I'll think they've lost the point. My explanation doesn't mean a thing because there are 20 ways to light a shot and get the same result. Why you do something is far more important than how."
- Freddie Francis, BSC
"The cinematographer is a storyteller, and his main job is to communicate with the director and get his ideas on screen. I just always insist on having a wonderful operator and wonderful gaffer. I can tell them what I have in my mind and they'll know what to do, with me just adding a few touches later."
- Freddie Francis, BSC
24.5.09
Derek Rogers: Magic
From American Cinematographer, Gleaming the Cube by Mark Dillon (March 1998)
"Filmmaking is a magic show. You just have to figure out the right trick to use." - Derek Rogers
"Filmmaking is a magic show. You just have to figure out the right trick to use." - Derek Rogers
11.5.09
Cecil B. DeMille: "He is a True Artist"
Cecil B. DeMille, wrote a small letter to the members of the American Society of
Cinematographers. It was a "heartfelt gesture in praise of ASC members Wyckoff, L. Guy Wilky, J. Peverell Marley, Karl Struss, Victor Milner, Hal Rosson, George Barnes and other cinematographers who had helped bring his films to the screen — and, by extension, of all ASC members for their contributions to the art of filmmaking." - American Cinematographer
The following is the letter entitled, He Is A True Artist.
"Amid the strange ingredients of Hollywood — a world typified by the human swarm and the artistic abstraction — there is a figure unknown to the chants of promoters and glorifiers. His hand has rarely held the scepter of public acclaim, his brow is not crowned with the envied olive leaf which so often settles upon the lordly producer and queens of beauty. This figure, a giant in his industry, is the cameraman — the sine qua non of a profession which often boasts that no one in its ranks is indispensable. No one, I say, save the cameraman.
I believe this is why:
He is the custodian of the heart of filmmaking as the writers are of its soul …
His tool is a box with a glass window, lifeless until he breathes into it his creative spirit and injects into its steel veins the plasma of his imagination …
The product of his camera, and therefore of his magic, means many things to many persons — fulfillment of an idea, an ambition ... realization of dreams …
He is the judge who applies the laws of dramatic effect in complete coordination and fellowship with the director who interprets those laws …
Light, composition, treatment are his instruments of power, which he wields with intelligence and sensitiveness to bring to full bloom the meaning of his art …
His versatile management of an intricate mechanism yields astonishing
results in mood, emotion, dramatic effect …
A slanting shadow becomes a shattering portent of doom …
A lifeless chair instills the feeling of infinite sorrow …
A dead wall awakens a foreboding of plunging terror …
A flash of a man’s face rises to the grandeur of drama, inspiring and ennobling …
Before his wizardry, wrinkles fade from the faces of Hollywood’s ageless, imperishable beauties… chins take on lovely contours… years melt away ….
Yes, the technique of the cameraman is the technique of artistic vivisection that lays bare the inner workings of our profession. If art can be said to be the expression of beauty in form, color, sound, shape or movement, then it must
be said that same art is the art of the cameraman — expressed in the boundless reaches of his imagination.
For his patience and singleness of purpose in a most arduous work, he is eminently deserving of that which is justly said of few men: 'He is a true artist.'"
— Cecil B. DeMille
Cinematographers. It was a "heartfelt gesture in praise of ASC members Wyckoff, L. Guy Wilky, J. Peverell Marley, Karl Struss, Victor Milner, Hal Rosson, George Barnes and other cinematographers who had helped bring his films to the screen — and, by extension, of all ASC members for their contributions to the art of filmmaking." - American Cinematographer
The following is the letter entitled, He Is A True Artist.
"Amid the strange ingredients of Hollywood — a world typified by the human swarm and the artistic abstraction — there is a figure unknown to the chants of promoters and glorifiers. His hand has rarely held the scepter of public acclaim, his brow is not crowned with the envied olive leaf which so often settles upon the lordly producer and queens of beauty. This figure, a giant in his industry, is the cameraman — the sine qua non of a profession which often boasts that no one in its ranks is indispensable. No one, I say, save the cameraman.
I believe this is why:
He is the custodian of the heart of filmmaking as the writers are of its soul …
His tool is a box with a glass window, lifeless until he breathes into it his creative spirit and injects into its steel veins the plasma of his imagination …
The product of his camera, and therefore of his magic, means many things to many persons — fulfillment of an idea, an ambition ... realization of dreams …
He is the judge who applies the laws of dramatic effect in complete coordination and fellowship with the director who interprets those laws …
Light, composition, treatment are his instruments of power, which he wields with intelligence and sensitiveness to bring to full bloom the meaning of his art …
His versatile management of an intricate mechanism yields astonishing
results in mood, emotion, dramatic effect …
A slanting shadow becomes a shattering portent of doom …
A lifeless chair instills the feeling of infinite sorrow …
A dead wall awakens a foreboding of plunging terror …
A flash of a man’s face rises to the grandeur of drama, inspiring and ennobling …
Before his wizardry, wrinkles fade from the faces of Hollywood’s ageless, imperishable beauties… chins take on lovely contours… years melt away ….
Yes, the technique of the cameraman is the technique of artistic vivisection that lays bare the inner workings of our profession. If art can be said to be the expression of beauty in form, color, sound, shape or movement, then it must
be said that same art is the art of the cameraman — expressed in the boundless reaches of his imagination.
For his patience and singleness of purpose in a most arduous work, he is eminently deserving of that which is justly said of few men: 'He is a true artist.'"
— Cecil B. DeMille
Denis Lenoir: Cinematographer or Cook?
"On a film set, I think of myself as a cook. With its own minor notes and surprising harmonies, the sauce I make concurs to the taste of the movie and brings out the story and the actors. Three extra grains or too little spice can change the experience of the people eating the meal. I love to cook, and when I do, I want to start with the best ingredients. If you leave something out of the recipe so you can cook faster or easier, it's probably not going to taste the same. Cinematography and cooking are sensual experiences. They are part art and part science, part tradition and part innovation. Whether I am cooking or part of a team creating a movie, I love improvising under pressure."
- Denis Lenoir ASC, AFC
- Denis Lenoir ASC, AFC
Gordon Willis: The Story Telling Cinematographer
"A cinematographer is a visual psychiatrist - moving an audience through a movie ... making them think the way you want them to think, painting pictures in the dark."
-Gordon Willis, ASC.
-Gordon Willis, ASC.
Christopher Doyle: Artists Voice
"I didn't start making films until I was 34. But that wasted youth was probably the most valuable asset for what I'm doing now. You see the world, you end up in jail three or four times, you accumulate experience. And it gives you something to say. If you don't have anything to say then you shouldn't be making films. It's nothing to do with what lens you're using."
-Christopher Doyle, HKSC
-Christopher Doyle, HKSC
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