Quotes of All Topics . Occasions . Authors
I don't think a camera and a cameraman can destroy a family.
In Hollywood, the cameraman lights the star. In Europe, he lights the set.
I didn't even know I would be an actor; I always wanted to be a cameraman.
Often I pretended to a cameraman to know less than I did. That way I got more cooperation.
I believe that the best cameraman is one who recognizes the source, the story, as the basis of his work.
I thought it was ridiculous that I was being paid less than a cameraman, and I wanted to shame them. And I did.
The cameraman isn't thinking about whether you're good that day. He's too busy worrying about what he has to do.
I couldn't be a cameraman or a designer or an actor - I have to be a director because I learned how to do that from my dad.
I can say, with a little arrogance, that I could be an actor, a cameraman, a writer, but composers are the most mysterious people.
Vernon Fenwick. He's a cameraman at Channel 6 - he's April O'Neil's cameraman - and Vernon is a character who is from the 'Turtle' mythology.
Having been a cameraman, I think about, 'Well, if this was real, how would this be shot?' I try to inject as much realism as much as possible.
One thing I learnt was that you don't have to spend all day shooting: you can get it done in half an hour if you're that talented as a cameraman.
In 2009, I served as AARP's Ambassador of Caregiving. With a producer and cameraman, I traveled the country for months, interviewing hundreds of caregivers.
As a cameraman, I was paid to stand within a few feet of Yehudi Menuhin performing. I saw Rudolph Nureyev dancing. I couldn't believe I was being paid for that.
As a cameraman, I am interested in images and truth. Today, people are conditioned to accept lies if they are commercial lies. What we don't see anymore is ethics.
Yes, if I had it my way I would do all the shots myself - I used to do that when I was just a cameraman, an operator - but there's no way; you can't do that anymore.
People always seem to assume that we have a full, back-up support team - make-up, costume and a driver - but usually, in a war zone, there's only me and the cameraman.
I served at the Pentagon and at Fort Leavenworth - my job was video cameraman, and that allowed me to travel to places like Korea, Japan, Alaska, Germany and the Netherlands.
Anyone with a smart phone is a potential eyewitness cameraman capturing and transmitting stories at speeds that turn Reuter photos and traditional reporting into, well... yesterday's news.
Usually in TV... A TV director could be anything from a main grip to just a glorified cameraman, and sometimes a director can be the person who is hired last. It's very much a producer's medium.
When Iron Man's flying, we'd send real planes up to do the choreography so that we'd get the camerawork to really look like a cameraman was following from another plane. It gives it that 'Top Gun' look.
Starting at age 10, my personality and my identity all stemmed from employment. I had a set to be at. I was a certain way with the cameraman, a certain way with the makeup lady - a normal, routine environment.
I was doing well in TV as a freelance cameraman, but it wasn't the direction I wanted to go in. I directed videos and tried to put something cinematic in every one. Dialogue, action sequences, helicopter, Steadicam.
I keep working with fairly inexperienced directors. You know, if you have a good crew, a good cameraman, you know, I know what I'm doing. If the actors know what they're doing, we can all pull together, and it works.
My dad was an actor and a writer; my mum was a drama teacher. My grandma was an actress. My aunt is an actress. My granddad was a cameraman. They would've been surprised if I wanted to be a dentist or something like that.
On 'Catfish,' I'm a co-host and onscreen cameraman, maybe the second onscreen cameraman after Wes Bentley's turn in 'American Beauty,' which is funny and ironic. But before that, I'd been doing a lot of creative nonfiction.
I have been at CNN my entire career. When I first started, I raised my hand and volunteered for everything. It allowed me to get a wide range of experience and learn from the best - whether it was a cameraman or an anchorman.
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.
I never take credit for my movie's success. I am the face of the movie, but there are numerous unsung heroes behind the scene. From the director, cameraman and editor to the light boy, everyone knows how difficult it is to satisfy the audience.
There are times when it's absolutely appropriate to march up to someone, stick out your hand and introduce yourself, and times when it's best to let your male cameraman or producer do the talking and hang back until you've felt out the situation.
There is the danger of over preparation, of loss of spontaneity; over rehearsal is the most terrible thing you can imagine. We do have a very close association between costume and set designer, though. And the cameraman is very important, of course.
My work is made on lines similar to those of a film production. A lot of my work is kind of bureaucratic, endlessly phoning up people, trying to find the cameraman and the lighting man, because I am a total technology-phobe, quite helpless with equipment.
A friend of mine - a cameraman at MTV - lost a lot of weight from cycling, and I thought I'd try it, too, thinking whenever you look at a cyclist they all look super-skinny, so hey, why not? But then it turned into such a psychologically satisfying thing.
Abu Musab al-Suri is someone I got to know pretty well because he's a Syrian. Very bright guy, lived in London. He actually was the person who took myself and correspondent Peter Arnett and the cameraman, Peter Juvenal, to interview bin Laden for his first TV interview.
My cameraman and I devised a method, which we started using from my second film, which applies mainly to day scenes shot in the studio, where we used bounced light instead of direct light. We agreed with this thing of four or five shadows following the actors is dreadful.
I tried to get a job as a TV cameraman and they basically told me, 'You're mad, everyone wants these jobs - and if you go to England, you're doubly mad.' But I worked in abattoirs for 10 months to earn my money, then left for London. I didn't even know what a director did.
In the old days, before there was such a thing as film schools, directors learned the camera by watching other directors, and learning from their own dailies, and listening to the cameraman, and seeing what would work. Some of those guys could cut their movies in their head.
I did a few documentaries as co-director and cameraman. I started off shooting a film about the war in Rhodesia. Then I did a film about an 'around the world' yacht race with a friend, and we spent nine months on a yacht. The film was about how people get on in confined spaces under extreme stress.
I worked on 'Blue Peter' and 'Tonight' and lots of TV plays, filmed people like Rudolf Nureyev and Ted Heath, and ended up a senior cameraman with my own crew. I'd had my first short story published in 1947, and when my writing really started to take off I decided to go freelance, and eventually left the BBC in 1965.
Every film I've ever worked on, and that includes 'Braveheart' and 'Trainspotting,' I've always witnessed a director having a breakdown. Every director will have a day, without exception, where they just can't do it anymore, they don't know what to say to their cameraman, their cast. It's the sign of real, physical exhaustion.
For us as writers, it's really important to have songs we believe in - even before sometimes we shoot a scene. If we have a song that's so perfectly designed for a scene on 'Rescue Me,' we'll play it on loud speakers during the shooting. It helps the cameraman and it helps the director, and it helps the actors know what the feel is.
The Russo brothers are the best people ever, and they cast me in 'Happy Endings.' I did text Joe Russo to say, 'I don't think my character dies, so if you need a local news cameraman to show up in 'Captain America 2'... I know it doesn't make sense, but just hear me out on this!' He was really cool about it and turned me down right away.
I don't care what business it is. I have the greatest respect in the world for that guy that can take an engine apart of a car and put it back together, or the house painter that can paint a perfect line, or the cameraman who can shoot the best shot. We're all talented in our own ways - just some of us make more money than others. That's all.
I was on a picture for four or five days, had an opportunity to be on a set, and the assistant cameraman kept showing me things. One day I climbed the fence, knowing they needed an assistant cameraman. A couple of days later, I was one. The first day or two, it was pretty disastrous, but I knew something about photography, and I caught on quick.
Deep down, all directors feel like frauds - because it's built into the nature of the job. You're the jack of all trades and the master of none. The cameraman knows the camera, the sound man knows the sound equipment - and you? You can't do anything: You can't do the acting, you can't dress the set, you don't record the sound or shoot the images.