For each movie that I do, I like to find a specific language to tell the specific story. Emmanuel Lubezki findlanguagemovie Change image and share on social
The language of film is further and further away from the language of theater and is closer to music. It's abstract but still narrative. Emmanuel Lubezki abstractclosefilm Change image and share on social
The most important thing in imaging for me is the dynamic range. The dynamic range means the tones that you can capture from highlights to dark and the bits, the depth of color that you can capture. Emmanuel Lubezki bitcapturecolor Change image and share on social
I'm very attracted to directors who want to experiment. The thing that attracts me the most are people who are trying find a language that is correct for their film, for that specific film. Emmanuel Lubezki attractcorrectdirector Change image and share on social
I did sound for a number of years, so I know the pain of the sound mixer on a set where everybody was talking. Emmanuel Lubezki mixernumbpain Change image and share on social
I think the audience doesn't know a movie's lit, but they feel it. Because you've walked in a forest many times, or in a park, so you know how it looks. When you start lighting, subconsciously you know there is something that is absolutely wrong. Emmanuel Lubezki absolutelyaudiencefeel share on social
I would love if film doesn't disappear, if we can have film forever so we would have all these brushes, all these possibilities available. Emmanuel Lubezki brushdisappearfilm Change image and share on social
I have two daughters, and they grew up and wanted to get into Instagram, and I didn't know anything about social media. I started it to learn about what they were starting to do and how they communicate with their friends. I opened an account. Very fast, in a few hours, I realized that I actually liked it. Emmanuel Lubezki accountcommunicatedaughter share on social
'Little Princess' was the first big movie that I did in America with big stages where we had kind of a different schedule to work. We had a great production designer, Bo Welch, and we had time to think about the movie in pre-production. Emmanuel Lubezki americabigdesigner share on social
On 'Y Tu Mama Tambien,' we started exploring shots that are longer, where the camera is moving around the actors, and there are no cuts, and you feel like you're there. Emmanuel Lubezki actorcameracut Change image and share on social