Quotes of All Topics . Occasions . Authors
When you are cleaning, sweeping, swabbing floors and running around for the littlest of things on a shoot for an ad or a documentary, you realize how tough life is behind the camera.
I didn't need the insurance. I do it again if my DP tells me it didn't look good in the camera or if the actors didn't hit their marks. But if everything was working why do it again?
You don't just turn on a camera and do a cooking show. If you want to go somewhere with something, you've got to make it look like what it's supposed to look like five years from now.
We had a script that was really solid and we knew how we were going to shoot and how the energy of it was going to go. So it gave us a lot of freedom to use the camera as a character.
When I get in front of a camera all my fears and my inhibitions just go away. As a model, I feel that I am acting, too, playing different parts and showing different facets of myself.
As actors, we went where we wanted to, and the camera followed us: it was like having another person in the room. There was no formal structure to the process. It was very liberating.
I love the idea I can go off with a single camera and a few rolls of film unencumbered... I was not interested in the illusion of reality, I wanted to get close to what was happening.
I think what actors have to do, what performers have to do to emotionally get to that place and have a camera and have your face 20 feet high on a screen, is such an incredible thing.
There is technique to it-he is just standing there flexing his arm, and I am standing there making faces as if I am being choked. You keep your head in a certain angle for the camera.
When we say 'cinematic', we tend to think John Ford and vistas and wide-open spaces. Or we think of kinetic camera movement or of a certain number of cinematic styles, like film noir.
I don't get tripped up in technology. I use technology as a tool. 'Oldboy' we shot Two Pro 35mm. For 'Da Blood of Jesus,' we shot digitally. We shot the new Sony F55. It's a 4K camera.
I started out as a camera operator. I was doing news, and I was doing sports - baseball games and football games. And I was acutely aware of women not really being in those roles then.
Of course, I love chats with various actors about the process and how they do it. To me, if it's not on the camera, if it's not there, it's not worth it. It really just isn't worth it.
With the fight scenes, they would take a video camera and shoot alongside the camera so we would piece it together on the computer and had an extremely rough cut of what we were doing.
I was always painting when I was a kid. But then when I handled a camera when I was 17, that was it for me. I loved photography. I would work 4 or 5 hours a day. It was like a calling.
Well, I see myself in the same business but a lot more successful and doing more movies maybe behind the camera. I plan to do some growing in this industry and take it as far as I can.
When the protagonist breaks the fourth wall by looking at the camera in a movie, it's generally been used for comedic purposes, rather than feeling like they're looking into your soul.
Live television drama was like live theater, because you moved without thinking about the camera. It followed you around. In film you have to be more aware of what the camera is doing.
I want more girls to be able to see themselves behind the camera creating images we all enjoy, and I want to call attention to the fact that women directors are here all over the world.
I like the days when all the filmmakers had was a film roll, a camera and a gangster. The Mack Sennett comedies were all like that. They'd create little teams to go out and shoot films.
In the editing room, 20 percent of the time you're using stuff from before the actor knew the camera was rolling or you're taking a line from somewhere else and putting it in his mouth.
People can't imagine an enemy that would cut someone's head off before a video camera and spread it out across the world. But that has happened with the kind of enemy we are now facing.
If I haven't rested, or I haven't slept or had food or done the normal basic things as a human being, how could I stand in front of a camera and do stuff, you know what I mean? It's mad!
Like everybody, I wanted to meet Andy Warhol. I was impressed by his work and how daring he was. I think he changed the cinema completely, simply by opening his camera and letting it go.
I am both so beaten up and bolstered up - I've gotten so many criticisms and accolades - that the fulfillment happens on the floor in front of the camera, not when the project comes out.
You never learn to act in front of a camera. You never learn anything in front of a camera. But you learn to act in a rehearsal room with a good play and a good cast and a good director.
With modeling, you pose. You want to look your best all the time. With acting, you have to be aware of the camera, but the more you show your imperfections, the better you're going to be.
I don't need a coach to tell me what to say. I need a coach to figure out what kind of shirt to wear and how to look at the camera and how to avoid, you know, picking your nose on camera.
If I sit quietly in a corner waiting for the camera to roll, it doesn't mean that I am aloof and cut off from people. It could be that I am thinking about the shot or going over my lines.
Each new film is like a trial. Before I step in front of the camera, I do not know whether I am going to fall or whether I am going to fly - and that is exactly the way I want it to stay.
I'm not out here trying putting on an act like I'm crazy. In my opinion, everyone else is crazy. They're the ones who put on an act for you, doing what they're told in front of the camera.
The guys you see me bring home, we're only cuddling and making out like any other person would do, but we're on camera and the whole world's seeing it, and it does look like I'm having sex.
One of my fantasies in my life has been that I was granted access with a camera to go back in time, and to film the actual campaign of Alexander crossing into India through Iran and Persia.
Sheridan is still there, he's the president of the Alliance, everything that was in place when the series is there is still there, we're just moving the camera over a couple of light years.
I could get my camera and point it at two people and not point it at the homeless third person to the right of the frame, or not include the murder that's going on to the left of the frame.
I was so besotted with '8½' that, when it was on TV, I used to take pictures with my 35-mm. camera of the frames of the film. That was the first time I'd ever really seen Italians on screen.
I love the camera; there's something very special and sensual about it, and I have a tendency to call it a he, like it was a man. But, unlike a man, a camera is accepting of everything I do.
Actors make bad lovers. Their most important kiss is for the camera. Not in a superficial way, in a really deep way. They can only give everything if they know someone is going to shout cut!
If I have to point to something specific with the way I move my camera, I love to do it with a wide lens. I like to show you as much of the space as I can, even if I'm following a character.
I remembered a mantra that one of my teachers used to tell me at drama school, that every thought will pass across your face. Even if you're thinking about Shreddies the camera will read it.
We're all living in a casino. It's just Vegas. Everything is on camera. Everything is being recorded. Everything is on audio. The truth is we all have access to everybody else's information.
A lot of actors, they know the camera's there, and if somebody moves around or makes noise or whatever then they get all distracted, but I pretty much lock in. You can't distract me too much.
It doesn't matter if you're small, big, or fit: if you go in front of the camera and deliver and say, 'Oh my God, I look amazing,' and just be sure about yourself, everything will be perfect.
I've worked with actors who treat the first two takes like rehearsals. And that's okay. If the camera is on you and we're doing a scene where I'm off camera, I'm treating that as a rehearsal.
'Happy girls are the prettiest,' and to be in the camera frame makes me happy. I just want myself to keep working. I can be in front of the camera for 48 hours continuously without any breaks.
I don't miss working on camera as much as theatre. But I do love film and television because it's so immediate; you walk on to a set and the tables are dusty, and everything's as it should be.
My college degree was in theater. But the real reason, if I have any success in that milieu, so to speak, is because I spent a lot of years directing, I spent a lot of years behind the camera.
Taking employment out of the country - now that's taking away jobs. These shows employ a lot of people: production, post-production, music supervisors, camera people. A hundred people or more.
People are so used to having their lives filmed, they're not even conscious of having cameras around. I still have that sort of suspicion when a camera comes out. I view it as a thing to fear.
It's been an extraordinary journey. I have learned so much along the way. I entered the modeling industry as a business person already. I always knew I belonged on the other side of the camera.