Quotes of All Topics . Occasions . Authors
I was bullied as a kid, and I got a job on television. And I had a camera. And so I wanted to go after those business bullies. And I just have been following that instinct.
Of course no documentary is completely 'objective.' Every decision you make - who to interview, how to edit, where to hold the camera - imposes a point of view on the film.
I do like being in front of the camera more and more. Having experience behind it has taught me about lighting and angles, how to move, and what looks good and what doesn't.
Filmmakers, they tell me they want to make movies. I say, 'Good, go out, buy a $500 camera, get some friends and make a movie. Don't go to Hollywood. Stay wherever you are.'
My directors of photography light my films, but the colours of the sets, furnishings, clothes, hairstyles - that's me. Everything that's in front of the camera, I bring you.
The camera, I hate it. That's something I need to endure while working as an actor. In the end, because of fame, Gong Yoo exists. It's the driving force that keeps me going.
You can do really slow movements with it, like zooming in for a minute and a half. The audience isn't aware that the camera has moved, but there's subconscious tension there.
One of my passions is photography. I always carry a camera in my bag whenever I travel. I always take pictures wherever I go, and some of them end up being really crazy ones.
As an actor, if you're just sitting and staring and you don't know who you are in your own mind, it's vacant. And sometimes the camera is an X-ray machine, it can pick it up.
Today, the smartphone in your pocket has a high-quality digital camera. Everyone - not just artists - is a photographer, and the explosion of photos taken annually proves it.
In the theater, while you recognized that you were looking at a house, it was a house in quotation marks. On screen, the quotation marks tend to be blotted out by the camera.
The cast of 'Lemonade Mouth' was picked so perfectly. A lot of people see us as a band on camera, but not a lot of people know that Lemonade Mouth was a band off-camera, too.
With Altman, he does discuss everything with you, but then leaves you to it and gives you full rein and lets you improvise and create a character while the camera is rolling.
Usually for cartoons, I record them in the mornings from 9 A.M. to noon, then I have the rest of the day to do on camera. It actually gives me time to work on my own projects.
When I was little, I would always try and look into the television screen along the sides. I kept thinking if you looked in there, you could see what was happening off camera.
For an actor working in television or film, I think it's important to understand how the medium works - how the camera and lenses work and how the sound and the editing works.
The creative act lasts but a brief moment, a lightning instant of give-and-take, just long enough for you to level the camera and to trap the fleeting prey in your little box.
The camera relieves us of the burden of memory. It surveys us like God, and it surveys for us. Yet no other god has been so cynical, for the camera records in order to forget.
My dream concept is that I have a camera and I am trying to photograph what is essentially invisible. And every once in a while I get a glimpse of her and I grab that picture.
I was molded, spent my time underneath a lot of goo. And then the bits and pieces were sculpted. It took probably 10 days to create each character after all those camera tests.
Just as Renaissance artists provided narratives for the era they lived in, so do I. I'm always looking beyond the surface. I've done that ever since I first picked up a camera.
So the thing that's beautiful about the Rolleiflex is that I open the camera up from the top and put my face in and that the camera's all about composition and all about light.
You can let the size of the crowd, when you do Super Bowl, overwhelm you if you want, and that opening on camera is one of the most intense, awkward feelings you can ever have.
In the car and in front of the camera I tend to be very calm but behind the scenes I can get fired up and passionate, I just don't see the need to shout my mouth off in public.
Nothing could be recorded in those days except by aiming a movie camera at the television screen. It was at least another 10 years before they had any kind of recording medium.
My stepfather gave me a Kodak camera when I was 17 years old. I started working at a local photo store in Le Havre, France, taking passport pictures and photographing weddings.
You will find hardly any improvising on camera anywhere in my films. It's very structured, but it's all worked out from elaborate improvisations over a long period, as you know.
'House of Style' changed my life. I literally had no experience in front of a TV camera before, and there I was taking over for Rebecca Romijn. My exposure heightened instantly.
If it's stage, the two most important artists are the actor and the playwright. If it's film, THE most important person is the director. The director says where the camera goes.
I smuggled the camera, it was no problem to smuggle the camera there. And I took 60 photos, two films, during the time when there was no one in the control room, in the building.
I have a whole quarantine-on-camera look and it's my Harwell Godfrey hoops, my Phenomenal shirt, glasses, and my hair tied up into a bun. If I'm on camera, I'll wear some makeup.
In the next shot the cameras zoomed to the fiancee who noticed the lights in the Czarina's room go out and the camera then turned to the pond where two goldfish were making love.
When I buy a Nikon camera, I have no tolerance for the instructions. I'm ready to make some mistakes using it and get some bad pictures back until I've figured it out for myself.
If you're not going to tell something if you're not going to expose something it's real easy to go in and photograph from behind the camera and not expose any of your weaknesses.
I am a big fan of photography, more of being behind the camera - so when I get the opportunity to work with such great photographers, I always try and learn from their technique.
The camera does not like acting. The camera is only interested in filming behaviour. So you damn well learn your lines until you know them inside out, while standing on your head!
I've fallen down crevasses, been bitten by snakes, been knocked unconscious, had various limbs broken and once, a heavy camera came plunging down which very nearly decapitated me.
George Lucas wanted this moving camera for all of the photography in Star Wars. He was willing to take a risk with the concepts that I advanced with regard to ways for doing that.
If this validates anything, it's that learning how to bunt and hit and run and turning two is more important than knowing where to find the little red light at the dug out camera.
What's cool is that Oprah is the same person on stage and in front of a camera as she is off stage and behind the scenes. She speaks the same way on camera as she does off camera.
I've known Radhikaa akka for a long time, and have seen her perform like a pro in front of the camera. But, to work with her and mouth dialogues in her presence had me in jitters.
Kissing onscreen is very awkward because you have to worry about angles and you have to worry about where the camera is and you have to remember where your head was in this moment.
I can tell you what I personally use a camera for. Basically, it is to record a moment. A moment that is vital to give the viewer a sensation of liveliness, sadness, joy and so on.
There's always going to be that pressure when you're in front of the camera. When you're famous it's just an extreme version of reality and there's a pressure to look a certain way.
My game is characterised by consistency, and that is what has brought me to Liverpool and helped me grow and develop. I like to make simple saves. I don't make saves for the camera.
I can often tell when drawings are done from photographs, because you can tell what they miss out, what the camera misses out: usually weight and volume - there's a flatness to them.
Over and over again-in the movie, I have nine different people who have worked for Fox News network who have come forward and talked on camera, three of them anonymously, by the way.
The reward is that you can actually create a world separate from reality with a story, actors, music, and camera design. When it works it can entertain, move people and teach us all.
The great thing about 'Fargo' is that it's a more objective style of filmmaking: the camera moves in very classical ways, and the most interesting things normally are the characters.
You get to the middle of a take that's going really well and the camera will run out of film. They have to stop you, apologize and then you've got to get things going all over again.