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I suppose I would still be a communicator, maybe a musician.
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The audience has to understand that if the film is going to have any meaning for them. If they are going to empathize with the characters, they have to visualize the process of concentration involved in making every move.
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I just wanted to try directing, and the best way was to write the material, so I was imbued with its origins when I was dealing with the actors.
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That's why I like fast film. It gives you more freedom to light more naturally.
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But you still have an awesome responsibility, because you are helping to create something which might influence the thinking of millions of people.
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Dad, wherever you are, you are gone but you will never be forgotten.
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I don't think of myself as a director or writer. I think of myself as a filmmaker.
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The sun is the most parallel light source because it is so far away.
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I can still recall the thrill of shooting my first film.
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I was very happy sitting alone at a dining room table, writing a script.
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There are infinite shadings of light and shadows and colors... it's an extraordinarily subtle language. Figuring out how to speak that language is a lifetime job.
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With today's fast films, you can light the way your eye sees the scene. You can abuse the film and create subtleties in contrast with light and exposure, diffusion and filters. That's what makes it an art.
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You have to understand the nature of light.
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The truth is that every experience, every feeling, every film you see, becomes part of the sensibilities you apply to making a movie.
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Every cinematographer I worked with had his own way of solving problems.
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I think one of the reasons people quit is because they're afraid they won't be able to get better and better; that they have to come to a zenith of some kind.
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Painting and writing are solitary arts.
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Photography is a very important part of my life.
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There are a lot of directors who are knowledgeable about images, and others who aren't.