Camera Quotes - Page 20

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People like to talk a lot about me, about how I have anxiety or social disorders. I'll admit to anxiety, but it has nothing to do with media or being in front of a camera or being around people. It has to do with dealing with the sparring that I'm going to have or the workouts that I'm going to have from day to day.

Instead of candidates hiring people, like yours truly, to create campaign media that works on both conscious and subconscious levels to sway the voting public, what if all TV ads were, by law, only allowed to feature the candidate, with, say, the American flag as the backdrop, alone, speaking directly to the camera?

Stage is the ultimate test; I like watching established screen actors on stage to see if they can really do it. But it's great to have a healthy mixture of the two. Film is so technical: there's something very particular about the relationship between you and the camera. It took a long time for me to get good on film.

As a director, what matters is how you penetrate the soul of the person in front of the camera and let the actor blur the boundaries between the character and the person themselves. In order to achieve that, I try to make people feel at ease, to be mindless of problems and be skinless and give everything to the camera.

Music has its own emotional embodiment. It carries an emotion with it. When you associate a lyric with the music, it's much easier; but when you're standing there completely dry in front of the camera with no musical background, just a fine-tuned, get-this-emotional-story across, it's a very, very intense kind of focus.

I was going to make movies. I was the one in the family who was always rolling the video camera, making movies of my brothers around town, and then screening them for my parents. I still would love to make movies someday... that's something that really means a lot to me, and I know I'll have the chance to do it one day.

I was terrified of being on camera. I was worried that whatever I would say, people would assume I'm speaking for every Muslim, every Pakistani, or every Middle Eastern person. That's a lot of pressure. But it also got me excited about what could be done, because I am a representative for people who are underrepresented.

I started out at Procter & Gamble marketing panty liners, so basically selling women insecurity. I thought there must be more to life than this. Then I was on set for a Dr. Scholl's commercial, and I asked one of the execs, 'How do you get a job behind the camera?' and he said, 'Film school.' So I quit and applied to NYU.

I was successful and I enjoyed modeling, but it got to a point where I felt like I had 'been there, done that.' I wanted something that would inspire me and challenge me. I needed something that required more creativity. I started writing and I started auditioning. Simply posing in front of the camera was no longer enough.

I went to theatre school for four years and just wanted to do theatre. I had no ambition to be on TV or to be on camera. I just wanted to go to New York or London and be on stage... I did a lot of theatre in Montreal, got involved in TV in Toronto and then moved to L.A. I hope that film and TV will take me back to theatre.

There's a gap between what I want to do, what I do on camera, and what gets edited. Right? So the goal is to try and close the gaps. What's the biggest compliment is if I read a review and it's exactly what I wrote down in my diary before ever filming it. That's really cool. That's the biggest signifier of closing the gaps.

It fascinated me, these kids who would sit in their living room or bedroom or kitchen and sing to the camera and act out the song fully as though they were onstage. Because a lot of musical theater kids... do that alone in your bedroom when you're a kid. But for someone to go and put that online? That's just so embarrassing!

My beauty routine has changed a lot since I turned 30. But also, being on camera more has made me dial in on my skincare and makeup routine. I have acne-prone skin, and washing my face with cleanser in the morning, using witch hazel to tone, and washing twice at night to take off all of my makeup has really made a difference.

Film, for me, is in two stages. One is when I write the script more or less on my own - that's the nice bit. And then comes for me the unpleasant bit when they all go off, 100 people - actors and camera people and film and sound - and I stay away. When they go into the editing room, I come in again, and that's the bit I like.

Sometimes I take the watch, or I take the shoes, but usually the souvenir is to take the life you had with those directors, or the crew - the camera person, the lighting person. When you finish a film it's like a little death. You had a family for a bit, and you finish the movie and you probably will never see each other again.

A huge part of what we do as actors is learning to ignore the camera, as if it's not even there, while simultaneously being very aware of the camera and what it's capturing, because you can give the best performance of your life, but if you do it with the back of your head facing the camera, it's going to get cut from the movie.

I always feel like when I work with people, I work with everybody - from the person that's working the camera to the person that's running the water to the person that's putting the clothes on me, the person that's combing my hair, my makeup, the person that's like, 'You gotta sign these papers.' I try to hang out with everybody.

It's strange. At some point in your career, the situation between yourself and the camera reverses. For a certain number of years, you court it and you need it, but ultimately, it needs you more, and it's a bit like a relationship. The minute that happens, it turns you off... and it does feel like it is taking something from you.

When I've had to edit my albums, I'll listen to it one time through, and I'll make edits. I want to remember to set up a camera to record myself listening to my set, because I don't even slightly crack a smile, I am just listening for technical details, and I look like somebody that has absolutely no sense of humor. I look insane.

If I'm traveling, I'll take a film camera and a digital camera because sometimes there are moments where, if you've lost it, or if coming back and it accidentally goes through the X-ray machine and it gets overexposed, you might have had a really important moment to you and you would be really upset that you didn't have a back-up.

Back in the early days like for the Temptations, Supremes and Four Tops, artist development was alive in record companies. Every artist had a moment to develop the record visually. When the web took over and camera phones, it stripped the artists of the power to figure it out. So there's a need to bridge that gap and that's my job.

I remember hearing someone say that good acting is more about taking off a mask than putting one on, and in movie acting, certainly that's true. With the camera so close, you can see right down into your soul, hopefully. So being able to do that in a way is terrifying, and in another way, truly liberating. And I like that about it.

Generally, there's a lot of ad-lib involved with live TV and things like that, whereas with acting in front of the camera, it was, if you screwed up a line, well, you've got another take, and you also had a script to be able to study, so it wasn't all ad-lib and flying by the seat of your pants, which I like both aspects, actually.

I directed the next-to-last episode of 'Parenthood.' I wrote three of the four last episodes. I had the cast to my house. Had a champagne toast with the writers. Had a huge cast and crew party. Drank eggnog in the camera truck after we wrapped the final day. All that, and I don't really feel like I've said good-bye to 'Parenthood.'

With acting, I've got a character to inhabit. You've got to think about your intentions and your directions. In modeling, even though there's an act to it, a good model is a good model. For me it's uncomfortable territory. You start to feel quite insecure about yourself. There's nothing between you and the camera, and it's just you.

With the Internet era and social media and politics being so out there with the lies, now you've got people denying things they're on camera doing, and then you've got people not really caring about the truth. You've got people supporting people who've done horrific things, but just don't want the other side to get any satisfaction.

I learned everything from that show, so it's just a wonderful memory to me. A lot of people would be embarrassed to admit that they were on 'Barney', but I embrace the fact. I just had such a wonderful time doing that show... I learned what a camera and prop is, and all that. I learned my manners too, so I guess that's a good thing!

We frame things in an off-kilter way because it's unsettling. In the 'Mr. Robot' world, that's the norm, and it's the norm for the point of view that we're looking for, which is Elliot's. With our compositions and our visual language and camera movements, it's important to always evoke that unsettling feeling underneath every scene.

Today, the paparazzi are not just photographers: everyone has a cell phone with a camera. If they see an actor, they click pictures to show it to their friends or have it on their phones and, as an actor, I don't see anything wrong with it. Having said that, there is a limit that has been crossed, but there is nothing right or wrong.

In case you haven't heard, my girlfriends and I have declared the summer of 2012 as the best summer ever. The best way to document said 'best summer ever' is with a good ol' disposable camera. Smile, click, move on! Nobody gets pic approval, and there's no time wasted gathering around the camera to analyze a moment that just happened.

There's an appetite for vigour in films. The camera loves a bit of movement. Movement is usually attached to younger people and men, and that's just the way it is. I think that it's a bitter pill to swallow, but it's a fact that there aren't going to be masses and masses of roles for older women because there isn't the audience for it.

Once you change the technology - from a film camera to a video camera, or from an 8-mm camera to 16 mm - you change completely the content. With 8 mm, a leaf on a tree will be made up of maybe four grains. So it's very impressionistic, almost like Seurat. If you switch to 16 mm, the technology gives you hundreds of grains on that leaf.

It wasn't until my girlfriend, photographer Jennifer Rovero, took hundreds of pictures of me as I recovered from my amputations that things started to change. The process was a sort of therapy for me, which Jennifer coined as 'photo therapy.' I grew to see the beauty and strength in myself and my journey through the lens of her camera.

I was on the yearbook staff, so I would take out film cameras and Nikons and take photos around school and at sporting events and things like that. We had a darkroom as well. I just loved it. I also saved up for a video camera to video my friends and cut and paste the videos together and I gave them to all of my friends for graduation.

When I was an actor in some movies a long time ago, I was so curious about all the camera movements - why is the camera placed here, and why does it move like this? And why the set and the background, the color? It's a lot of questions for me to ask, because I was so interested, not only in acting, but also the whole process of filmmaking.

Whether you make an action blockbuster or a comedy or a drama, you've got the right camera and all the right technology to do it. In games, it's not the same yet, and I would like to see technologies dealing with cameras the way we do - dealing with bouquet, dealing with performance capture, with lighting - with all this stuff the way we do.

So often, in my life, when you play a joke on another actor, you say, 'Hello? Steven Spielberg? It's for you.' What's it feel like? It's bizarre. He feels like he's a friend. He feels like he's some kid in the neighborhood who has a camera and makes films, now and then, and says, 'Would you come 'round and play?' It doesn't feel grand at all.

'The Martin Show,' the 'Jamie Foxx show,' 'Living Single,' 'The Wayans Brothers,' 'Hanging with Mr. Cooper...' Some of these shows were good, some were typical television, but they facilitated a lot of work for blacks in front of as well as behind the camera. A lot of us in Hollywood thought it was the beginning of a real racial breakthrough.

When we were doing 'Freaks and Geeks', I didn't quite understand how movies and TV worked, and I would improvise even if the camera wasn't on me. I thought I was helping the other actors by keeping them on their toes, but nobody appreciated it when I would trip them up. So I was improvising a little bit back then, but not in a productive way.

At the beginning, Edo was a photographer, and I was more of a talent scout and doing styling and modelling. Then all of a sudden, in 1977, he gave me a Polaroid camera, and I discovered that instead of having to go to a lab and develop the film, I could just take a click and get a picture! It was genius, and I was very good at manipulating it.

Camera lies all the time. It's all it does is lie, because when you choose this moment instead of this moment, when you... the moment you've made a choice, you're lying about something larger. 'Lying' is an ugly word. I don't mean lying. But any artist picks and chooses what they want to paint or write about or say. Photographers are the same.

Being an actor in TV or movies is different. A film or TV actor, if put in theatre, won't know certain dimensions, while a theatre actor won't know certain things when he comes before the camera. So I think a film actor can learn emoting from this theatre counterpart, while the theatre actor can learn about camera techniques from the film actor.

Shooting on the iPhone has become more of a directors' tool to lower inhibition of first-time actors and nonprofessionals. While it's helped me become more mobile, no pun intended - running around, finding tight areas and different ways of moving the camera - to me it's more about using this device to catch candid moments. That's the biggest thing.

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