Jaume Collet-Serra Quotes

When you make a thriller/horror, darkness is [your] friend, because it lets the imagination go wild and what not. So you always end up going into darkness.

Jaume Collet-Serra

Imagination, Darkness, Horror

Source: collider.com

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Obviously in the close-ups we bring extras around or we do it later, but them running in and the big shots, they don't know. They're just coming out.

Jaume Collet-Serra

Running, Coming Out, Bigs

Source: collider.com

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Camera's are cheap. It's the lenses that are expensive.

Jaume Collet-Serra

Cameras, Lenses, Expensive

Source: collider.com

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For me, it was the challenge of doing a movie that is in one location. Usually, there are a few scripts obviously always going around with stories that happen in one location.

Jaume Collet-Serra

Challenges, Stories, Location

Source: collider.com

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Producers and studios want to make movies that are more appealing internationally and I think that you have to use your different cultures as an advantage to be able to make those movies.

Jaume Collet-Serra

Thinking, Different, Culture

Source: collider.com

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I wanted to move away from the disaster airplane movies that we have seen in the past and do something that was more mysterious, and delay until the end the resolution of the mystery, and then have to deal with the plane itself.

Jaume Collet-Serra

Moving, Airplane, Past

Source: collider.com

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I think video is very useful, but it's very useful when you want a certain reality.

Jaume Collet-Serra

Reality, Thinking, Video

Source: collider.com

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You have to think of each stage of the movie and how it progresses, get into the state of mind of the character, and then match the camera to that, and keep making it tighter and tighter and crazier and crazier so people don't get bored. You know you cannot do a similar shot that you did at the beginning of the movie at the end.

Jaume Collet-Serra

Character, Thinking, People

Source: collider.com

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You know how hard it is to swim take after take and perform the next day swimming again? Me, I'm a terrible swimmer, but most actors with that tight schedule would be sick pretty quick.

Jaume Collet-Serra

Swimming, Next Day, Sick

Source: collider.com

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If you do any thriller or horror movie a big part of the process is accounting for the cell phone.

Jaume Collet-Serra

Phones, Cells, Horror

Source: collider.com

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Anamorphic doesn't really lend itself to the big shots.

Jaume Collet-Serra

Bigs, Shots, Big Shots

Source: collider.com

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I could only shoot when the subway was on the other platform. Little things like that, and the platform is very narrow. It's not like you can hide if a subway comes so a lot of things happened because of that. Or a thousand people just came and looked straight into the lens like they didn't expect a movie to be shooting.

Jaume Collet-Serra

People, Lenses, Shooting

Source: collider.com

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Shooting digitally would not have been easier. Cameras are the same size. I always shoot on film unless I have a reason not to, which I haven't had yet.

Jaume Collet-Serra

Cameras, Shooting, Size

Source: collider.com

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The hard part on the subway is that you have, let's say, eight hours, but you have to hit these deadlines. From here to here, you can use this part. From this time to this time, you can use that part, and you have to hit them and it gets very stressful.

Jaume Collet-Serra

Eight, Use, Subway

Source: collider.com

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When you're a kid and you see gangsters living the life, you kind of want to be like that.

Jaume Collet-Serra

Live Life, Kids, Want

Source: collider.com

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Now that everyone's shooting digital they want the anamorphic to soften the look. You know, to make it more filmic.

Jaume Collet-Serra

Looks, Shooting, Want

Source: collider.com

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It's hard to do a camera inside of a car. Non-Stop would have been impossible. Usually modern lenses you can focus up to the lens pretty much, but anamorphic you can't. You need like three feet.

Jaume Collet-Serra

Feet, Car, Focus

Source: collider.com

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Anamorphic is very difficult because the distance from the lens to the person to focus is very long so you need a lot of distance from the camera to the person so that means that you need a lot of space.

Jaume Collet-Serra

Distance, Mean, Space

Source: collider.com

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I moved to Hollywood when I was 18. I never saw it as a disadvantage in any way. Quite the opposite.

Jaume Collet-Serra

Opposites, Hollywood, Way

Source: collider.com

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I think that everything changes when it goes through the Mac; it's cheap. I think people then don't pay too much importance to the take, if you can do 40 takes.

Jaume Collet-Serra

Thinking, People, Pay

Source: collider.com

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I will shoot on film as long as they make it.

Jaume Collet-Serra

Long, Film

Source: collider.com

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I think it's very interesting for a director that enjoys thrillers and mysteries like I do to have the challenge to do that.

Jaume Collet-Serra

Thinking, Interesting, Challenges

Source: collider.com

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These days in movies you can always come back to a location or do an insert or do something, so that's not even an issue any more. But coming back every day to the same plane, it messes with your head.

Jaume Collet-Serra

Issues, Location, Coming Back

Source: collider.com

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You have to offer sort of an evolution visually and do things like you've never seen before, like a fight between two men in a toilet on an airplane which was very exciting.

Jaume Collet-Serra

Airplane, Fighting, Men

Source: collider.com

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Born: March 23, 1974
Occupation: Film director
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