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I have a lot of influences. I like to sit down with the cinematographer a month before, and we'll watch pieces of 20 or 30 movies. You're basically the sum of all the experiences you've ever had, and they're sort of shaken up in you and reproduced in the things you create, and that includes seeing movies.
But at heart, I am more than a cinematographer.
The way I work with my cinematographer is not based on general principles, but the ideas are triggered by the locations where we shoot.
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.
Every cinematographer I worked with had his own way of solving problems.
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.
Everyone his own cinematographer. His own stream-of-consciousness e-mail poet. His own nightclub DJ. His own political columnist. His own biographer of his top-10 friends!
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.
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 have developed my eye as a cinematographer through the craft of operating. When I am not operating, I am often anxious, uncertain, restless, sometimes irritable. When I am in the position of working with Steadicam or remote cameras, I fly with a broken wing.
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.'
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.
'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.
I came up the old-fashioned way - tea boy, cutter, focus-puller, cinematographer - but I wasn't myself old-fashioned.
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.
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 worked on movies with a lot of violence when I was a cinematographer, and it always bothered me. It's a personal thing. I wouldn't want my kids to see it. I certainly believe that freedom of expression shouldn't be taken away, but I also believe you can make movies that are thrilling and exciting without too much violence.
Jan de Bont
So we got there at 6 a.m. We'd be shooting by 6:45. We wouldn't break for lunch, we'd just pass food around all day. And we would just rock and roll 'til 4, then Matty Libatique, our great cinematographer, would say, 'Outta light, guys' - and that was it.
I got fired from a movie that ended up being called 'Windows,' which Gordon Willis, the cinematographer, directed. I got fired because he refused to cast Meryl Streep, who at the time was at Yale. I told him I thought he was an idiot, and he fired me.
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