People confuse pretty with good cinematography.
What was it? Freddy Francis says, there was good cinematography
and bad cinematography,
and then there's the cinematography
that's right for the movie.
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I don't think I have a style.
I hope, I have a style that suits the project that I'm on.
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If reviewers don't mention your work,
it's probably better than if they do.
It means it actually works
because the film is the piece.
You know, I think they all influence you, even if it's not conscious
when you're doing something, the kind of mood they have,
you know, the kind of emotional connection I have.
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You have to spend the time in prep.
You have to think it out.
You have to work out technically, you know,
you write a battle plan, looking at locations
and figuring exactly what shot I wanted to do on what time of day?
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Sometimes up here, we're going to start with these shots.
And at midday what we can do these in the car
and then there's the sun goes down.
We can shoot this way.
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You just got to be open to the way things are.
I think is a danger, you know being too rigid in terms of shooting,
what you prep and the danger in being too fluid
and not doing enough prep.
I love what Connie Hall used to call happy accidents, you know,
you're in a set and, suddenly, the light starts slashing through a window,
and even if you don't use that natural light is
and suddenly think, now, that's it, I didn't think of that.
So you've maybe cut that lay off, and put a lamp to do exactly the same thing
so you can have consistency.
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There's so much about the movement of the camera
and the composition,
you know, you want to be open to this sort of things
that happen on a set.
You can't be if you've got to communicate with an operator,
which you can't do when they're shooting a shot.
So for the middle of the shot,
something's happening and you want to just think,
oh,I just thought I'd take the frame over that way
a bit that will do blah blah blah.
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Cameras, getting lighter and lighter.
So, I reckon, I could be like in my 90s
and still do it handheld.
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I mean, I think it's a totally different effect to an audience,
looking at somebody on the end of a hundred-millimeter lens,
as opposed to some of its being shot on a 27 close to or 21.
I mean, it's just the same as your relationship
in real life to somebody.
I'm sitting this close to you.
So I don't think we take
that into account, as much as we should really.
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Cinematography,
where you`re putting in the audience.
In some way that's more important with actually what the frame looks like.
I don`t know, I can't describe it.
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