Quotes of All Topics . Occasions . Authors
I wonder how Colin Powell sleeps at night. I would like to have a word with him because he lied. He lied. He lied to me. He lied to my face through the camera at the U.N.
I am the clotheshorse out on the course and the better I play the more people watch me out on the course and the more the clothes get exposure in front of the TV cameras.
People who wave digital cameras at shows are the same people who sit in front of you at hockey games and wear those giant foam-rubber fingers that say, We're number one!'
There's no audience to wonderfully get in your way when you're doing a single-camera anything, whether it's a sitcom or drama or film. And I do mean that in the best way.
You`ve got James Comey on camera on Capitol Hill saying, - no, it is not much less of an offense than Hillary Clinton. In fact, it is far more serious. It was prosecuted.
Drive through a yellow light, and you may be ticketed thanks to a camera tied onto a pole. Everybody's watching everything. And then sending it out to the world via email.
I've been a soldier, I've been a bunch of little girls, all sorts of roles that I would not have been able to be with on camera context because I just don't look the part.
Practicing going over scenes and in front of the camera just to see how that feels, and then ultimately just finding a way to expose yourself to people. That’s what I did.
I don't necessarily believe in the ideology of cinema verité. I think by the very fact that you have a camera there you are affecting the story and you are influencing it.
My filmmaking really began with technology. It began through technology, not through telling stories, because my 8mm movie camera was the way into whatever I decided to do.
There's a kind of power thing about the camera. I mean everyone knows you've got some edge. You're carrying some magic which does something to them. It fixes them in a way.
I mean yes to act out something or take chances in the performance is one thing. But in terms of a camera, whatever's captured is captured so that's a little more daunting.
What I do not like, the kind of high-resolution cameras, 4K, 6K, for shooting dialogue, for having faces and close-ups of actors, and you see every single pore in the skin.
I think that I need to work on being comfortable at being normal, everyday-ish on camera. Unlike a lot of actors, I think that's the thing that I'm not so comfortable with.
You can make an editorial comment about the play while it's going on. You don't have to be bogged down by the details because the camera is showing the groundball to short.
I always carry a camera because it is so important to me to take pictures and document all the incredible things and places I have been able to see through this experience.
I was bullied as a kid, and I got a job on television. And I had a camera. And so I wanted to go after those business bullies. And I just have been following that instinct.
I am not going to be dictated to by the size of the camera. I use everything from an 8 x 10 to a 35-mm. But I don't use these modern cameras which break down all the time !
If I had never won a single medal, I'd still be skating in a rink somewhere. There wouldn't be an audience or camera flashes or autograph seekers, but I'd still be skating.
I was really awful at auditions. There's something about sitting down and saying into the camera: "I'm Nina and this is the name of my agent." That makes me just die inside.
The TV camera has no shutter. It does not deal with aspects or facets of objects in high resolution. It is a means of direct pick-up by the electrical groping over surfaces.
I know that producing will ultimately mean more longevity in the business, so when I'm tired of everything else and want to be behind the cameras, I know that I can produce.
The only reason I ever thought about retiring from the front part of the camera as opposed to the back is sometimes you think, "How many roles are there for someone my age?"
On practical level I can't pick up the camera until I think I know what I want. I don't wander around. It's almost impossible for me to pick up a camera... it's really hard.
Childhood is all about innocence. Being constantly surrounded by cameras and shutterbugs, makes children lose that innocence. It's terrifying and worrying, to say the least.
With camera phones and, you know, iPad's and cameras at stoplights, it's like I just want to drive around with a bag on my head because I just feel like everyone's watching.
I don't want to expose my personal life. It's best that people know me for my work. My family doesn't want to be surrounded by cameras. We want to live like any other family.
As an actor, if you're just sitting and staring and you don't know who you are in your own mind, it's vacant. And sometimes the camera is an X-ray machine, it can pick it up.
I'm focusing on my efforts behind the camera. I'm doing some producing and directing so that I can make projects for all of the amazing, talented actors and crew that I know.
In the theater, while you recognized that you were looking at a house, it was a house in quotation marks. On screen, the quotation marks tend to be blotted out by the camera.
Improvisational things about picture-making... learned from working with the small camera early on have served me well in being able to think quickly when making [portraits].
When I work, I really try to get absorbed in the character. Unless I want to do something playful with the camera, I'm not too worried about where the camera is or positions.
The better players need to be out there in front of a big crowd, the TV cameras, with the adrenaline going. That is a test for any player to be able to do it on the big stage.
I think I was very shy and introverted when I was younger, and yet, when I got in front of the camera or went out on the town, I was able to go out half-naked and do anything.
The true authenticity of photographs for me is that they usually manipulate and lie about what is in front of the camera, but never lie about the intentions behind the camera.
There are days when everyone in the world looks like a Diane Arbus to me. She's a genius but her work is completely different to mine. But on those days I don't use my camera.
With the camera you might even not need the reporters. But, you see, media can't trust you to watch [Barack] Obama without them telling you what you just saw and analyzing it.
The more commercial work that is happening, the more people are operating cameras and are setting up studio lights, the greater the opportunity for drama production to happen.
I expect that people are going to feel differently about that once they're aware that AI systems can watch through a camera and can, in some sense, understand what it's seeing.
The voice stuff is super fun and I get to be anyone, but on-camera, I get to go in with wardrobe and sets and stuff and be in an environment that's not normal, and I love that.
I want to be behind the scenes, and learn more. What cameras to use, what lenses to use, what shots I want to get. And it takes time, so being on movies and sets, I just learn.
I don't think there is any advantage to digital unless it's in a case like Slumdog Millionaire, where you have to get a shot and a big bulky film camera is out of the question.
I was molded, spent my time underneath a lot of goo. And then the bits and pieces were sculpted. It took probably 10 days to create each character after all those camera tests.
Normally, if I'm being acknowledged it is for something in front of the camera. This puts the spotlight on the fact that there are opportunities other than just being an actor.
When you stand up there and do a press conference, it's a very preoccupied moment. You're standing in front of cameras; people are watching you; it's not so easy to be at ease.
Just as Renaissance artists provided narratives for the era they lived in, so do I. I'm always looking beyond the surface. I've done that ever since I first picked up a camera.
You know, I've done so much of my life in front of cameras... I wanted to show a different side of me. And I put it all out there anyway, so why not put my love life out there?
In the car and in front of the camera I tend to be very calm but behind the scenes I can get fired up and passionate, I just don't see the need to shout my mouth off in public.
House of Style' changed my life. I literally had no experience in front of a TV camera before, and there I was taking over for Rebecca Romijn. My exposure heightened instantly.
I accept all interpretations of my films. The only reality is before the camera. Each film I make is kind of a return to poetry for me, or at least an attempt to create a poem.