Quotes of All Topics . Occasions . Authors
The film of tomorrow will not be directed by civil servants of the camera, but by artists for whom shooting a film constitutes a wonderful and thrilling adventure.
This acting's serious! And I really respect those actors. It's a tough business to be able to be something you're not and be natural and convince people on camera.
If I didn't have my camera to remind me constantly, I am here to do this, I would eventually have slipped away, I think. I would have forgotten my reason to exist.
Acting's all about the confidence you exude, especially on film. I mean, nervousness isn't attractive in anyone, but a film camera will seek it out and punish you.
When you grow up on camera and in the public eye, you feel you have to put forth this image. I just took that to the extreme and there was a lot of pressure on me.
I think a lot of great male comic actors are introspective, quiet personalities, which I really admire. But they are really able to turn it up when the camera's on.
I had started off, before I ever got an acting job, working at Robert De Niro's Tribeca Productions as a reader. I was always interested in that side of the camera.
I feel every shot, every camera move, every frame, and the way you frame something and the choice of lens, I see all those things are really important on every shot.
Live television is the hottest medium. My passion for sports debate runs hot enough without a camera transporting it into your living room with 10 times more impact.
I just fooled around in front of the camera and earned money for it. Every policeman, every soldier, every nurse - they all do more for society. I just rent my face.
I have a really dry sense of humor. I don't think it's funny when people wink at the camera. That's more of an actor thing, just committing to whatever the thing is.
For me, being a complete artist means not necessarily just being in front of the camera, but being behind the camera or being the originator or creator of something.
There's a lot of different things that make me want to take photos. A lot of it is, for a long time I've been obsessed with the thought of time travel with my camera.
As with instant replay, NFL Films' use of slow motion, camera angles and the narration of Facenda was not just a technical breakthrough but a conceptual breakthrough.
You think the only thing looking at you is this steel thing, but behind the camera is this living, breathing person operating the camera whose job it is to watch you.
Many times I've sat with a camera and another actor and seen all their fears and insecurities and struggles. You want to support them and help them as much as you can.
A neighborhood friend showed me how it was possible to go to a camera shop and pick up chemicals for pennies... literally... and develop your own film and make prints.
I have experienced ageism and sexism. In my 20s, I was told by a camera lighting man I needed plastic surgery. In my 30s I was constantly told I needed to lose weight.
One of the Life Saving men snapped the camera for us, taking a picture just as the machine had reached the end of the track and had risen to a height of about two feet.
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.
My wife Mariana is a good photographer too and, like me, she just picks up a camera and takes a picture when she sees something, rather than looking too deeply into it.
You don't want to be the guy whose back's to the camera in the emotional part of the movie. So, you have to be aware of the camera movement and what the camera's doing.
I don't really have a favorite camera. I use a Leica and Canon a lot. It depends, especially professionally, on the requirements. But my carry-around camera is a Leica.
For film at the beginning of the 20th century, they didn't even know what editing was yet. Actors didn't know how to perform in front of the camera. There wasn't sound.
I'm not in front of the camera, they are. I encourage them; I build up as much of their confidence and ego as possible. They've got to take control; I can't act it out.
I'm attracted to working with comedians because they don't have that stars' idea of what a hero should be. The downside is they're always addressing the camera too much.
I love being on stage or in front of the camera. My work brings me a lot of joy. It helps me figure out who I am. I'm really lucky that I get to make a living at acting.
When I do an interview, when I appear on camera, I want to be the same person as the one you meet personally and say, 'He is really the same person I saw on television.'
I took my children to see 'Son of Rambow,' about two boys who make a home movie with a video camera. When you have children, culturally you become involved in their life.
Butte was once a grand city. To me, that city is like one big stage for Edward Hopper. You could put your camera anywhere, and you felt you were looking at his paintings.
I started out making skateboard videos. Soon, it dawned on me I just wasn't that great at skateboarding. So I put down the skateboard and just kept going with the camera.
My first modeling job was Gap, and my first time in front of the camera was for a Soda Pop Girls commercial - it's one of those Bratz dolls, Barbie dolls... one of those.
As a producer, it's not unusual to find yourself on the field, backstage, often with a camera crew and living with constant anxiety of accidentally ending up in the shot.
If you don't like my work in 'The Affair,' that's fine, but I'll stand by the work because I felt that everything that went on camera was what I intended to go on camera.
The idea of working with Steven Spielberg was very attractive. He's such a master. He knows the language of the camera and of filmmaking, which gives him a great freedom.
Naga Shaurya is a silent person and doesn't talk to anyone on the sets. But when he faces the camera, he is a different person altogether. As an actor, he is very mature.
I wanted 'Night of the Living Dead' to look naturalistic, but we weren't able to do it because we were shooting with a blimped 35mm camera, which is automatically static.
When I was fifteen years old, my dad won a video camera in a corporate golf tournament. I snatched it from his closet and began filming skateboard videos with my friends.
During 'Anna Christie,' the biggest challenge I had was working with my daughter and sort of not stopping and asking an audience member for a camera to record the moment.
Years ago - in the 70s, for about a decade - I carried a camera every place I went. And I shot a lot of pictures that were still life and landscape, using available light.
Drive through a yellow light, and you may be ticketed thanks to a camera tied onto a pole. Everybody's watching everything. And then sending it out to the world via email.
The thing about producing is that the pressure is off of being in front of the camera, and being critiqued and judged in that way, but there are other pressures producing.
If my mother was taking pictures, I never wanted her to take the camera off me, ever. When I look at my videos from when I was even just two, I would be playing ballerina.
Normally as a director, you do look at other films and things that are relevant. But with this film, it became impossible because I became so aware of the camera placement.
My filmmaking really began with technology. It began through technology, not through telling stories, because my 8mm movie camera was the way into whatever I decided to do.
I mean yes to act out something or take chances in the performance is one thing. But in terms of a camera, whatever's captured is captured so that's a little more daunting.
I've really learned over the years how to control my adrenaline and let it all out when they shoot the gun versus letting the crowd and the lights and the camera get to me.
A lot of directors in my experience are very receptive. They see what you do first, and then they want to find a place to put the camera, and they tweak you here and there.
I had seen 'Lock, Stock and Two Smoking Barrels' and I thought that was a different kind of film than I'd seen before, with that kind of editing and slick camera movements.
I think that I need to work on being comfortable at being normal, everyday-ish on camera. Unlike a lot of actors, I think that's the thing that I'm not so comfortable with.