Renowned French director Claude Chabrol, a pivotal member of the French New Wave movement, is well-known for his perceptive observations on the craft of filmmaking. He was especially critical of certain methods that, in his opinion, diminished the cinematic experience.

Chabrol's preference for more steady and controlled camera work is evident in his remark that he dislikes hand-held shots. Chabrol saw handheld cameras more as a gimmick or a shortcut than as a means of improving narrative. According to him, every aspect of filmmaking, including camera movement, should support the story and the film's emotional tone.

Consider a painter who would rather use an easel than paint with a canvas in his hand. Chabrol believed that a steady camera was essential for capturing complex details and subtle emotions on screen, much like some artists find stability necessary for accuracy and expression in their work. He thought that filmmakers were able to concentrate more on the storytelling process by purposefully using equipment.

Chabrol's critique emphasizes his faith in the potency of careful composition and framing, not that he disapproved of all movement or dynamism. He frequently stressed the value of visual storytelling and believed that hand-held shots occasionally overshadowed this element by adding needless instability to a scene.

Chabrol's remark essentially sums up his larger views on filmmaking, a craft in which every decision is crucial to giving viewers an engaging and cohesive narrative experience.