Quotes of All Topics . Occasions . Authors
Sometimes, we have to turn our camera to a mirror to shoot something, and people think, 'Oh, that's very stylish.' Yes it is, but at the same time, we did it because we are shooting in a very small space, and that was our only option.
I have such freedom when I'm living through a mask, and by contrast, can feel very exposed when a camera is capturing my real face. Kind of like the difference between walking out your front door in a sweater and jeans or in a Speedo.
Technology has grown so much that there's a whole idea of gluttony. Sometimes you get carried away because you can have a camera go through the window, but do I need a camera go through the window? Those choices are up to the director.
I still enjoy acting. I love the moment in front of the camera, but it's all the other moments that I don't enjoy. The 'business' aspect of it, the gossip. I really dislike about 99% of what I do, but I like that 1% when I'm on camera.
In America, we have bible-reading applications: every single one of those applications asks permission to turn on your microphone, your camera; it wants permission to read your e-mails and the right to send e-mails wherever it chooses.
When I used to work in television, a tip was rather than looking down the barrel of the camera and imagine people watching, which is terrifying, imagine your most discerning friend observing you, and imagine you're just talking to them.
'Muppets' was very much an exercise in anti-CG and the anti-effects world. It was very much in camera. We wanted to create a world where tangible puppets walked around and talked to each other. You could touch them. You could meet them.
The digital camera takes photographs in practically no light: it will dig out the least bit of light available. I was amazed to see the results of photographs that I wouldn't take ordinarily. That's the advantage of digital photography.
As someone who started in the digital background, it's an easier, better, faster platform to bounce off of. You already have so much momentum, and you already have the experience. You're already comfortable being in front of the camera.
The whole idea is to propose an immersive experience. When you watch tennis, you watch from the outside, you're far from the court, the camera is far away and the whole story is about two persons hitting a tennis ball and trying to win.
After I did nine years of a television series, I didn't want to do anything really that involved going to a set and being in front of a camera for quite a while. And when I did start to want to do things, I wanted to focus more on film.
The main relationship in the whole series was the one between the camera and Fleabag. I had to convince myself that whoever was watching on the other side of the camera was instantly complicit with Fleabag and instantly a friend of hers.
We were on a fairway shooting a scene in 'The Dogleg Murders' when I was asked by the cameraman if it was safe to film from where he was standing. I said, 'Yes, it'll be fine.' I then managed to slice the ball 90 degrees into the camera.
Even if you're walking through the airport or going to pick up your mail, if you meet a fan and they have a camera, they will take a picture of you and millions could potentially see that picture - if it's picked up by a blog or whatever.
A lot of actors just do whatever they do, and wherever the camera is, it is. They don't pay much attention, but I always did. I was always very close to the camera crew. They were my best buddies, no matter what movie or show I was doing.
I think a lot of the time these days people are so concerned about having the right camera and the right film and the right lenses and all the special effects that go along with it, even the computer, that they're missing the key element.
In terms of Cube I think he's very conscious of the technical aspect of the business whereas when you're just hired as an actor, you're not really secure in that part of your work and you're not really paying attention to where the camera.
I want to be taken seriously: I can cook, I do have qualifications, OK, I do make mistakes, but I want to show that on camera. I'm not perfect. I'm someone who works hard, who is serious about what they're doing. It's substance over style.
When someone's acting for a scene, they can fool the camera. But in everyday life, unless you're watching and censoring yourself every minute, or spending all your time in the company of ladies, what you feel is bound to show in your eyes.
A lot of athletes have star quality, but they just can't perform in front of a camera. So no matter how good-looking you are, no matter what kind of presence you have, you still have to be able to be a convincing performer to become a star.
It had rained on some vivid green ferns in Maine and it was quite beautiful. I was moving the camera slightly and studying the ground glass. Looking at those 20 square inches, trying to find out just what were the right elements to include.
I thought that it would be easier to learn that if I worked in motion pictures. So I went to work with one motion picture producer who was developing a color system. This didn't do to me much good. All I did was pick filters for the camera.
I'm involved in music and fashion a lot more than I used to be, so my style has definitely changed - for the better, of course. It's given me greater insight into what colours work, what looks good on camera, and what I feel comfortable in.
If you're a photographer, they give you a camera. If you're a writer, they give you a typewriter. If you're an umpire, they give you an unseen object and they call it a strike zone, and nobody seems to agree with you no matter what you call.
I don't think I approach my songs differently from other artists. You get a big picture of it, and you imagine the song and hear and feel it, and that big picture is like a snapshot, and it comes to you as fast as it takes to click a camera.
I don't try to hide who I am when I appear in public places, act, or attend interviews. If I do, it makes the gap even wider. I like it best when someone says I'm the same on television, on camera, or off camera. This makes it easier for me.
For me, iPad 2 and tablets in general are really exciting from a front-facing camera perspective, making those short video clips where you're talking about where you are or what you're interested in, and your face fills up the entire screen.
It was amazing to watch him in the darkroom at an advanced age, still get excited when the results were pleasing. He still struggled like we all do in the darkroom and he struggled behind the camera, and when he had a success he was beaming.
I had gone to nursing school at Northampton Community College in my hometown of Bethlehem, Pennsylvania. And nursing didn't feel quite right, and an old boyfriend gave me a 35-millimeter camera just to play with. So, I took a darkroom class.
Sometimes you're not always on or at your best, especially during auditions. So if you go in and you don't nail it, even if they're like, 'We don't need to see you again,' get a friend, get a video camera, and film you doing the stuff again.
It's a question of dropping the armor and getting up and doing the work you want to do. And film at first is frightening because you are like, 'What's that camera doing?' But then it becomes family and therefore a really wonderful experience.
I look very different on camera compared with how I do in real life. On camera, I look my best when everything is enhanced, especially my eyes - I like a smoky eye. In real life, I like myself best in tinted moisturiser, lip balm and mascara.
We just said, 'Okay, you're in the movie. Bring what you would bring for a three-day weekend and I hope you like the way you look in it because once you're on camera, that's your wardrobe.' But it worked; it worked and we were very surprised.
Part of the reason why I love to operate is because I find that so much of what we do is instinctual. It's dancing with the actors and responding to their body language, and you feel what the right place for the camera is at any given moment.
Oh yeah - I watched Knife in the Water, saw the shot, and repeated it. But even if I hadn't seen that film, inevitably the camera would've ended up on top of that mast, I mean if you think of it there are only so many dynamic shots on a boat.
Today my passion is still black and white. Today if I have an array of cameras in front of me the one I would reach for that I would feel most comfortable with would be a 4 X 5 View camera. I was once working in a sort of soft light situation.
It's been really interesting watching people's reactions to the new music, to the old music and also watching how modern young people will be standing in front of something going on like live music, and there's a camera in front of their face.
I was shocked the first time the paps got me in America - when a video camera is put in your face and you're asked questions and 15 people are walking backwards taking your picture. I was coming out of a pizza shop and had my daughter with me.
Well, getting behind the camera is something I've always wanted to get involved with. Ever since I was doing movies like 'Zathura' I was very interested in all the different jobs on set and kind of soaking all the information up like a sponge.
And then as I frequently do, some times I'll peek out from underneath the focusing cloth and just look around the edges of the frame that I'm not seeing, see if there's something that should be adjusted in terms of changing the camera position.
The thing is that when you don't carry a camera, that's when you see pictures in particular, or at least that's when you think you see pictures in particular. When you do carry it, if you do see one on the occasion that you do, you can take it.
I don't like, and I've never been very good at, close-up shots. As soon as you have the camera right there in front of you, it feels like you're in a different reality from the person you are acting with; you lose any real connection with them.
The camera lens or the television camera is still just a proscenium arch. And as a great old character actor once said to me, wherever you're acting, you reach up and take hold of the proscenium arch, and you pull it down around your shoulders.
The camera fails to capture the 'business' in show business! We typically will give 10 percent of our salary to the agent, 10 percent to the manager, and 5 percent to the lawyer, plus the publicist gets a flat fee, which needs to be budgeted for.
I took myself out of the business to study film at NYU and the School of Visual Arts. I grew up on movie sets and was fascinated with the camera and behind-the-scenes work. I felt it would help my career as an actor if I knew all aspects of film.
It's hard work to think away all those 200 people or 40 people, whatever the crew is, that are around behind the camera. To also think about, 'Whatever I'm doing now is going to be seen by a million people,' it doesn't really help my performance.
If you watch fights cage-side, sometimes different punches look better than others. It's like camera angles. Sometimes some punches look a lot better than they were, and sometimes a solid punch doesn't look good. So it just depends on your angle.
The goal is to have to do the shot again because the camera guy shook a little bit as he was laughing. Without that happening, I'm not happy because there's nothing better for me than a world that everybody's just trying to make each other laugh.
What I do love is the traveling... and getting paid for it! I like being in front of a camera... It's an outlet. It's fun! If you look through my photo album, they are all modeling poses. My mom was a young mom, so she took tons of pictures of me.
If the breaking news event has something to do with young people, specifically with MTV's audience, there was a higher chance that I would actually go cover it with a television camera instead of just write the story myself and read it on the air.