Quotes of All Topics . Occasions . Authors
Why should not the camera artist break away from the worn out conventions and claim the freedom of expression which any art must have to be alive.
Being in front of the camera, you never got to see the whole process from the conception of the script all the way through to the filming process.
An autograph is actually refreshing because everyone has cameras now and wants a selfie. That's why I carry signed headshots with me, to give out.
Realism and superrealism are what I'm after. This world is full of things the eye doesn't see. The camera can see more, and often 10 times better.
Just as a camera is a sublimation of the gun, to photograph someone is a subliminal murder - a soft murder, appropriate to a sad, frightened time.
All I do in Dublin is relax and live away from the cameras. There are a few coffee shops I love and I spend my days in there drinking cappuccinos.
I like being involved in the lighter side of journalism because it serves a purpose, and it's fun. And I can keep my opinions off camera if I want.
I admire a person who, for the love of art, is able to take off their clothes in front of a camera. But I'm not capable, I'm too cowardly for that.
I didn't want to be a woman photographer. That would limit me. I wanted to be a photographer who was a woman, with all the world open to my camera.
Cooking for me is a way to wind down. It's different from cooking on camera, where you have to do everything twice, for a wide shot and a close-up.
I've heard that it's some kind of weird two-lens system where the back camera uses two lenses and it somehow takes it up into DSLR quality imagery.
The way we see things is constantly changing. At the moment the way we see things has been left a lot to the camera. That shouldn't necessarily be.
I almost became a music major, but somehow I was so enthralled with the camera and becoming a director that I stuck with film school and theatrics.
... anybody who has spent time with cameras and photographs knows that images, like gravestone rubbings, are no more than impressions of the truth.
I started out taking photos of my friends on, like, disposable cameras, and I documented my younger sister and her friends all through high school.
The AP has only so many reporters, and CNN only has so many cameras, but we've got a world full of people with digital cameras and Internet access.
Hitchcock makes it very clear to us. There's an objective and a subjective camera, like there's a third- and a first-person narrator in literature.
Satellite communications connect television screens in Japan with television cameras in England, and the distance of half a world loses its meaning.
I didn't go to film school. I was never an assistant or trainee on a film. I had not seen all those cameras. So I think it gave me a lot of freedom.
The camera is, in a sense, both a way to get close, and to break free. It is a testimony to independence as well as a new way to relate to the world
I'm the sort of person who takes a camera to dinner or a nightclub because I enjoy taking pictures of people. I tweet all my pictures, which is bad.
Great claims are being made for the photograph as truth. We are showing you things, we show you the war. I say you can't actually. The camera can't.
He understands now why kisses in movies are filmed the way they are, with the camera endlessly circling, circling: the ground is unsteady under his.
On TV, you have wardrobe fittings, you have four cameras on you at all times, and you're worried about your angles and your lighting and your shots.
Stanley Kubrick was brilliant at getting under the audience's skin. He was very interested in the idea of, 'How can I tell this with just a camera?'
You know, when cameras are rolling, improvisation doesn't feel natural. The pressure is too great. You're on a time schedule. You've got 60 crewmen.
I think, if you put a camera in anyone's life and document it daily from the age of 21 to 27, there are going to be things that aren't always pretty.
I've been around Hollywood and filmmaking long enough to know that it's a tricky dangerous business when you go on camera, you got to watch yourself.
The use of the camera has always been for me a tool of investigation, a reason to travel, to not mind my own business, and often to get into trouble.
Cameras, in short, were clocks for seeing, and perhaps in me someone very old still hears in the photographic mechanism the living sound of the wood.
'Tangerine' being my fifth film, I was out of favors. I couldn't afford to get the Arri Alexa or RED cameras and I definitely couldn't shoot on film.
The Internet, the camera cellphone and the like have not only sped up the world's information uptake, but they have cheapened that which they capture.
My photographs are not just about the instant of movement you capture in the camera. It's much more total, about constant movement that became static.
Sometimes music helps. If I feel that it's bogus, I'll literally just call myself out on camera and say that it's dishonest. You do whatever it takes.
The best visual effects are when you shoot as much of what you can in camera. And it's really good for the actor's performance to have something real.
More and more movies have been pressured to allow reporters and TV cameras to come onto the set while you're working, and I find that a real violation
I choose to work behind the camera. And I kind of want to make the work and then run away. The presentation of myself really feels complicated for me.
Comedy is all about the joke. Comedies usually don't do anything fancy with the camera [or] the lighting. It doesn't matter. It should never be fancy.
I don't like kissing on camera. It's bad enough to be caught kissing by your parents. But when you have a whole crew watching you, it's a little weird.
I love acting. Acting's always been my first love. I grew up watching multi-camera television shows... And I thought I would absolutely be in for that.
If I went to them all dressed up and flashed a nice smile for the cameras it would probably be easier for me to get work. But I just can't tolerate it.
It turns out umpires and judges are not robots or traffic cameras, inertly monitoring deviations from a fixed zone of the permissible. They are humans.
Although I was entirely relaxed on camera, if I had to stand up and say something to an assembled group of people, I was rendered all but inarticulate.
Even back in the '90s, I shot certain things on something that wasn't digital then, but it was on VHS with a smaller camera and we would up it to film.
There's just such a premium on hurrying, and the camera is the be all and end all, and the actors had better hurry up and get it right and get it done.
You should never use the camera to make your pictures. You use yourself, your experience to make the picture with the camera. Not the other way around.
By sight and observation and thought, with the help of the camera, and the addition of the date of the year, we can hold fast the history of the world.
More and more movies have been pressured to allow reporters and TV cameras to come onto the set while you're working, and I find that a real violation.
Democracy is born in dirt, nourished by the digging up and turning over as much of it as can be brought within reach of a television camera or subpoena.
Ever since the invention of the camera, people have been trying to create 3D, because we see things in 3D, and everyone's aware that the camera doesn't.