Quotes of All Topics . Occasions . Authors
A good filmmaker is someone who can look at a piece and go, "This camera's really going to be a character. I want people to feel like they're being punched."
You can take 100 penalties in training, but when you go out on that pitch in front of all those people and the television cameras, it's completely different.
I started in a research lab for TV cameras, then I worked at a tape duplication facility. That was the first introduction for me to recorded music and hi-fi.
I don't like traffic cameras. In fact, I hate them. But that doesn't mean I can break the speed limit and run red lights to get to a New Orleans Saints game.
I would never say no to anything that sounded interesting! The thing I like about making films is that the adventure just begins when you pick up the camera.
I'll get cast occasionally as sort of the jerk version of myself, and I have fun doing that. But it's really better for everyone if I stay behind the camera.
You can't do shiny skin for high-definition cameras without it looking awful. HD shows off all of your imperfections. Even selfies require a flawless finish.
When you are shooting traditional motion capture, it's a big footprint on set. There are, like, 16 cameras that are needed and constraints over the lighting.
Perhaps it sounds ridiculous, but the best thing that young filmmakers should do is to get hold of a camera and some film and make a movie of any kind at all.
Photographs also show the way that the camera sees. It's not just me or you or anybody else. The camera does something that is different from our own setting.
Cameras are a lifesaver for very shy people who have nowhere else to hide. Behind a lens they can disguise the fact that they have nothing to say to strangers.
I don't like to watch playback. But being on the set, watching the way the camera is being moved and the way the light is being used, you do get an idea of it.
I just use [the camera]. I just pick it up like an axe when I've got to chop down a tree. I pick up a camera and go out and shoot the pictures I have to shoot.
I'm an observer in life, not a participant. That's why I'm a documentarian who looks through a camera. I'm not a touchy-feely person; I'm not a seminar person.
I loved being asked 2,000 questions a day, storyboarding every move, knowing as though by instinct exactly where the camera had to be, because it was my story.
It was dripping and, you know, and there was a whole line of cameras and microphones. I felt like - you remember the honor guards, only it was a dishonor guard.
I work primarily for the camera-it's not something I really talk about a lot, but it's part of the way I am as a movie actor. The camera is my girl, as it were.
We had two cameras, so they could turn it on and shoot as much as we wanted. You don't have to worry about wasting money on film. A lot more takes are possible.
I operate the camera, I always do it when I'm the director, and I like to approach it as a documentary, finding the images based on what happens, as it happens.
In silent movies, they tended to put the camera down, and everybody walked in front of it and acted, and then they all walked off. Cutting was quite infrequent.
There is a narrative behind every image. I often imagine being able to see the photographer standing behind the camera, or perhaps crouching or running with it.
The biggest battle for a lot of people who come out of the theater, which is where I was trained, is that they can never forget that a camera is pointed at them.
Yes, there's a certain power to a photograph. The camera has a way of disorienting a person, if it wants to and, for me, when it disorients, it's got real value.
The world I feel, within the realm of art, is more genuine than the wrorld of matter. Artistic feeling is not tape measures, spectrographs, or flash camera lens.
I always think of childhood as the inarticulate moment, and you have your little camera. You were filming it, recording it, you just didn't know how to speak it.
I had rescued the moment by using my camera and in that way had found how to stop time and hold it. No one could take that image away from me because I owned it.
On 'Made In Chelsea' there are cameras in my face and some days I think, 'I can't go to filming today,' but I just have to dry my tears and pull myself together.
So while you're trying to improvise, you're also trying to puppeteer, you're doing everything that you need to do to perform a puppet in our style, for a camera.
I have had positive experiences with cameras. When I have been asked to join experiments using cameras in the courtroom, I have participated; I have volunteered.
In the '50s, I was traveling alone all over Mindanao, Basilan, all the way to Tawi-Tawi with just a camera and a notebook. I always stayed in the houses of Moros.
I'll be goddamned if I'm going to stay in a business where I have to get up earlier and earlier and it takes longer and longer for me to get in front of a camera.
Because I trained in theater, I always leave a film shoot feeling like I haven't done anything, like I just sat in front of the camera and whispered, essentially.
Just remember, in 1973, we had no digital cameras, no personal computers, no Internet. The thought of putting a billion transistors in a cell phone was ludicrous.
Surveillance cameras might reduce crime - even though the evidence here is mixed - but no studies show that they result in greater happiness of everyone involved.
Whether I'm in front of the camera, behind the camera, at my computer writing a novel or a screenplay, as long as I get to entertain someone out there, I'm happy.
If fact were enough, you could take a photo of the subject. Unlike the sensitive observer, however, the camera never selects or comments, never adds or subtracts.
When you grow up on camera and in the public eye, you feel you have to put forth this image. I just took that to the extreme and there was a lot of pressure on me
[The camera] may be said to make a picture of whatever it sees, the object glass is the eye of the instrument - the sensitive paper may be compared to the retina.
By the way, today with digital cameras and editing on your laptop, and things like that, you can make a feature film, a narrative feature film easily for $10,000.
How can we have our privacy? How can we have our independence now in these times with these cameras? Because I think privacy and our solitude is really important.
Sometimes the presence of a camera is like opening a door, because many people want what Andy Warhol called "15 minutes of fame." But prostitutes don't want that.
It is unfortunate that the poor judgment shown by a small group of young actors has tarnished the reputation of every child who has ever appeared before a camera.
I am very suspicious of cameras and dramatic interpretations and the whole Hollywood myth-making process. I don't trust it. I've seen it affect people in bad ways.
I was really relieved not to have to drag something in front of the camera; I could use a pencil and paper. A regular pencil and typing paper. That appealed to me.
My story with film is kind of different because I started with photography because my father was a photo buff. He had all sort of cameras, and I grew up with that.
If I didn't have my camera to remind me constantly, I am here to do this, I would eventually have slipped away, I think. I would have forgotten my reason to exist.
Acting's all about the confidence you exude, especially on film. I mean, nervousness isn't attractive in anyone, but a film camera will seek it out and punish you.
Obviously, from the experience you get from making videos, you understand where the camera is and how some of the actual technicalities work and so on and so forth.
You know, every time it comes, every time that light comes on or every time that camera comes on, every time that microphone comes on, the Mac Man seek and destroy.
I think a lot of great male comic actors are introspective, quiet personalities, which I really admire. But they are really able to turn it up when the camera's on.