"It’s got something to do with love. With having the discipline to talk out of the part of yourself than can love instead of the part that just wants to be loved."
Just as I love flares, I love fans and propellers. We came to the roof and it was dead. The visual was dead. I said, ‘I want something like spinning wheels on top of the roof to give it some movement.’ The art department said, ‘Why would spinning wheels be on the roof?’ I said, ‘Maybe they’re cooling conditioners.’ They said, ‘Cooling conditioners aren’t like that.’ I said, ‘I don’t give a shit.’ So, on the spot, we made up some hardboard pieces and gaffer-taped film cans on the end of them, sprayed the whole bloody lot black and stood them up. They were pushed by the crew before we shot, and the roof came alive.
"I decided early on not to do the usual things or give the movie any kind of spooky lights that you typically saw in horror films. Instead, it all had to transform from something real and from a source. So you can see on the left side of the frame that there’s one lamp that’s turned off, while the lamp on the other side is on. And of course, we added some as well. My cinematographer, Owen Roizman, was very careful to keep the lighting cold and sort of eerie, but all of it came from a source. The lights were all filtered for night, and it was an interior, and everything is given a kind of realistic foundation."
William Friedkin on The Exorcist
"I’ve found that the line between comedy and drama when you’re directing is very, very thin. Sometimes, it’s so thin that you can’t even recognize it. W.C. Fields said that all great comedy is rooted in cruelty and pain, and that’s how I try to conduct my own work."
Robert Zemeckis, Far Sighted
Phil Lord & Chris Miller
cinematographer eigil bryld on designing a uniform look for ‘house of cards’ with director david fincher:
fincher’s ground rules included “no steadicam, no handheld and no zoom lenses.” […] “to a great extent, moves are on the dolly or the boom. we wanted to use the space more so people would grow larger in the frame or move away and get smaller. we went for a more composed look; even though we had very shallow focus, we tried to create deep compositions all the time to add a sense of drama and power, and the 2:1 aspect ratio really helped with that.”
the entire show was shot on arri/zeiss master primes, mostly the 27mm and 35mm. ”we used longer lenses at times for close-ups, but we never wanted the sense of space to disappear,” says bryld.”
zoe barnes gets three sizes of coverage in the scene above, each inching higher and closer to the eyeline.
also, the A and B cameras are usually kept very close, often stacked one on top of the other. ”we typically had one camera doing a low-angle wide over and the other doing a tight over,” says bryld. continuity is key. ”if you have perfect continuity, i think it almost creates a hypnotic universe, like you’re almost experiencing something in real time. in fincher’s world, you have to respect space and time, and two cameras help with that.”