What I would suggest to the young people is to not forget this and don't try to get assimilated into today's Hollywood style of movies because I don't think it's going to last long.

I like to say that lighting is about taking the light away. I often like to use the shadows more than the light.

For me, movies should be visual. If you want dialogue, you should read a book.

There is something missing in a lot of digital filmmaking, something I call "poetic reality." That's something you see played out in film noir, where the technique establishes the mood.

You can't just stick with what you know, you have to evolve.

The best way to know when there's good lighting is when you don't notice it.

As the cinematographer is usually more visual than the director is and full cooperation is really the answer and to make a great film, you need a good director and you need a good cinematographer.

If you do not bother to take the time to compose and to light properly, then you end up with something almost less than reality. You end up without the soul, the heart, the art of the moment.

I'm always looking in the lighting to tell the story in a different way than it actually looks in real life because it's, for me, more contrast sometimes has to mean it's softer than normal.

I hope that film is going to stay as an artform and that people won't forget that there are good movies also to be made.

I think film is about images. Cinema needs good images. I think that if you don’t have good images, it’s not going to be a good film. I think all films should be really visual.

Where there is love, there is no war.

Thou art weighed in the balances and art found wanting.

I realized that even big waves start with small ripples

Somebody who has been in a very bad wreck is going to be very conscientious about not speeding through a yellow light... You just learn so many good lessons when you go through a failed marriage.

I would order a dozen bats and there were times they'd come back with handles at each end.

Is T.S. Eliot the only poet one can think of who could have spent a year on his own in Paris at twenty-three—and managed to have no sexual encounter whatsoever?

The last thing a woman will consent to in a man whom she loves, or on whom she simply depends, is want of courage.

Tis pleasant to stand on shore and watch others labouring in a stormy sea.

... man cannot help but transcend himself as soon as he begins to design and construct.

Racism, because it favors color over talent, is bad for business.