For me, film-making is combining images and sounds of real things in an order that makes them effective. What I disapprove of is photographing things that are not real. Sets and actors are not real.

The future of cinematography belongs to a new race of young solitaries who will shoot films by putting their last penny into it and not let themselves be taken in by the material routines of the trade.

The eye solicited alone makes the ear impatient, the ear solicited alone makes the eye impatient. Use these impatiences. Power of the cinematographer who appeals to the two senses in a governable way. Against the tactics of speed, of noise, set tactics of slowness, of silence.

To create is not to deform or invent persons and things. It is to tie new relationships between persons and things which are, and as they are.

The ear is profound, whereas the eye is frivolous, too easily satisfied. The ear is active, imaginative, whereas the eye is passive. When you hear a noise at night, instantly you imagine its cause. The sound of a train whistle conjures up the whole station. The eye can perceive only what is presented to it.

Two types of films: those that employ the resources of the theater (actors, direction, etc...) and use the camera in order to reproduce; those that employ the resources of cinematography and use the camera to create

Master Precision. Be a precision instrument myself.