I don't know about you but aren't you sick of hearing the same advices from the filmmakers you admire so much? Why is that? Are there some kinds of things that they have to say in interviews of stuff like that in order to promote a certain product? Or may be we are caring to much about what they say and we ideolize them and this is something that we shouldn't be doing!
I was reading another article or interview by Roger Deakins and I am sick of hearing the same phrases.
Here one for exemple:
"A lot of people say it's nicely photographed, and I think it is," he says. "And I think it's the simplicity that makes it well photographed. ... It's not like these are necessarily fantastic images; it's really about the content. It's not about making great images."
"When you move the camera, or you do a shot like the crane down [in Shawshank] with them standing on the edge of the roof, then it's got to mean something," he says. "You've got to know why you're doing it; it's got to be for a reason within the story, and to further the story."
In a way, I am obsessed about reading interviews. But doesn't seem to be improving anything in me. Or may be I am wrong but I just can't make it anything out of it to really understand their choices and of course when I am in action (producing something) doesn't really make it easier for my choices and my dilemmas. For me they are saying to much and at the same time, they are saying anything. It really doesn't answer any of my needing as a person who wants to do that job. I guess you just have to find a way to answer all these questions and that is something that has to come from within. And that's really the point when you really understand the craft and this profession and actually all the answers are already in yourself. You just have to look for it. In that way, I am trying to be as much optimistic as I can.
"There's nothing worse than an ostentatious shot," Deakins argues. "Or some lighting that draws attention to itself, and you might go, 'Oh, wow, that's spectacular.' Or that spectacular shot, a big crane move, or something. But it's not necessarily right for the film — you jump out, you think about the surface, and you don't stay in there with the characters and the story."