I think women have made progress in cinematography, contrary to women directors, who I think have regressed. There are many more women cinematographers than when I started.
I had a love for photography, which of course rolled into cinematography.
I think the point of cinematography, of what we do, is intimacy.
The cinematography was of course incredibly important to me because I graduated as a cinematographer.
In old movies, the cinematography is a thousand times better than anything today. Writing, a thousand times better.
I like the powerful story, the excellent performances the beautiful cinematography and the vision of the "The Piano".
You make the movie through the cinematography - it sounds quite a simple idea, but it was like a huge revelation to me.
In fact, my methodology is based on the idea of waiting for when inspiration arrives for the actors. And that means that the light, the cinematography, everything has to be ready for that moment, so they don't have to wait.
The art of moviemaking seems to get thrown away. The cinematography is gone, and the look of everything becomes of little importance. You lose the memorable images; everything looks like it's been shot at night with a security camera.
Cinematography is a writing with images in mouvement and with sounds.
Not all pictures but some pictures you're like, "Wow, I wish I could be there" or you feel like you are there. I don't know what it is about cinematography.
I'm not sure that I could give notes to someone that I revere. That's a general challenge of directing, giving notes to someone you revere. The other big contribution to this, which most people I show footage to take note of is Mauro Fiore's cinematography is unbelievable.
Cinematography is infinite in its possibilities. . . much more so than music or language.
