Quotes of All Topics . Occasions . Authors
I feel strange when I get applauded by people in power... because it's obvious that it's them I'm criticizing, but they can't show that in front of the cameras. It's quite funny sometimes.
There are photographic fanatics, just as there are religious fanatics. They buy a so-called candid camera there is no such thing: it’s the photographer who has to be candid, not the camera.
The camera can be lenient; it is can also expert at being cruel. But its cruelty only produces another kind of beauty, according to the surrealist preferences which rule photographic taste.
While the recent addition of the National Guard providing a support role manning computers and cameras has allowed more Border Patrol agents to work the field, more agents are still needed.
It's about creating an atmosphere so that characters can just live in front of the cameras. And to be sensitive, and for the actor to know the sensitivity that they are being observed with.
One of my fantasies in my life has been that I was granted access with a camera to go back in time, and to film the actual campaign of Alexander crossing into India through Iran and Persia.
All the great advances in cinema came about from technology. The 3-D camera was not invented by a movie director. The new industries are driven by the innovations in science and technology.
It's very true that non-actors feel more comfortable in front of a digital camera, without the lights and the large crowd around them, and we arrive at much more intimate moments with them.
I'm sure I cause just as much consternation for editors as any other actor, but it definitely makes me feel more comfortable understanding how and why all the different camera setups exist.
I learned very quickly that the hard thing in life is to make good films. Technically, filmmaking is the camera and the actor telling the story and that's what I'm more interested in doing.
You can't ever let yourself be thrown by a camera. That's never good for an actor. When you're reading the script, you want to work with someone you trust so there's nothing to worry about.
I think most artists would agree, it's one thing to be playing in front of a crowd that's loving it, it's another thing to add cameras, but it's a really cool trade off to be on television.
It's a different era. I understand what Charles Barkley was saying but you just can't take guys out. There's too much scrutiny. There's too many replays and reviews, and cameras everywhere.
I was so besotted with '8½' that, when it was on TV, I used to take pictures with my 35-mm. camera of the frames of the film. That was the first time I'd ever really seen Italians on screen.
I was extravagant in the matter of cameras - anything photographic - I had to have the best. But that was to further my work. In most things I have gone along with the plainest - or without.
The megapixel war in conventional cameras has been a total myth. It's taking us all in the wrong direction. Once a picture goes online, you're throwing away 95 to 98 percent of those pixels.
My life has become a reality show. When I am home, people are climbing trees with cameras. I feel that my personal space is being encroached upon. I will try and protect it as much as I can.
When I was on 'Loose Women' I never thought you have to keep it light. I had my own view. It sounds daft, but I forgot that there were cameras there because I got very heated in discussions.
We're all living in a casino. It's just Vegas. Everything is on camera. Everything is being recorded. Everything is on audio. The truth is we all have access to everybody else's information.
The natural end of an era, as designers whose houses bear their names grow old and pass away, combined with the arrival of digital cameras and Internet exposure, has created a perfect storm.
What does it tell you that applications for guns since the shooting are up 41 percent in Colorado, and that our cameras found about 50 people in line at one gun shop yesterday outside Denver?
I got a massive overdose of gamma radiation from the Xerox machine and just printing call sheets, you know? By the time I stepped in front of the camera, I was very comfortable. It was great.
A lot of actors, they know the camera's there, and if somebody moves around or makes noise or whatever then they get all distracted, but I pretty much lock in. You can't distract me too much.
Happy Days, which we did for 11 years, we did with three cameras in front of a live audience. Very special. We had a party every Friday night. The boys, Ron, Henry, they grew up on that show.
Put me on telly, and I think I have a relaxation on camera that makes an audience relax, too. It's not a conscious thing. Cameras don't bother me, whereas other people try to perform to them.
So now what happens is the cameras follow me around and capture exactly what I've been doing since I was a boy. Only now we have a team of, you know, like 73 of us, and it's gone beyond that.
I've dealt with a few method actors, and I don't know if should say this, but I think it's a bunch of nonsense. I think it's film acting and you just have to be on when the camera is rolling.
As a child I had been so afraid of so many things, but as soon as I held a camera in my hand, I began to expose myself to the very things that were foreign to me and that I had always feared.
I've worked with actors who treat the first two takes like rehearsals. And that's okay. If the camera is on you and we're doing a scene where I'm off camera, I'm treating that as a rehearsal.
The camera cannot leave the man, but the man can leave the camera. It's in the style of documentary where you make an agreement between a camera and a man and say, "I'm going to film you now."
I didn't know how interested I was in performing until I did 'Darkplace.' I hadn't done anything really up until that point. I didn't mind the cameras, and I didn't know that I would enjoy it.
I made tons of runs and got an opportunity to play for Mumbai. Suddenly, people knew who I was, and the cameras were on me. Getting the recognition matters when you are playing school cricket.
I've always had two principles throughout all my life in motion-pictures: never do before the camera what you would not do at home and never do at home what you would not do before the camera.
I'd like to use IMAX. The problem with IMAX is that it's a very loud camera. It's a very unreliable camera. Only so much film can be in the camera. You can't really do intimate scenes with it.
People are so used to having their lives filmed, they're not even conscious of having cameras around. I still have that sort of suspicion when a camera comes out. I view it as a thing to fear.
It's been an extraordinary journey. I have learned so much along the way. I entered the modeling industry as a business person already. I always knew I belonged on the other side of the camera.
Then again, they're not scripted and I feel it's virtually impossible to be anything but yourself when you're in front of the cameras and cooking so there is a measure of truth in what you see.
I don't want to sound too critical, but a lot of fans at some grounds I go to have got cameras in their hands, taking pictures of anything rather than generating any atmosphere during the game.
Acting, to me, is being given the freedom and ability to play, and that's - that's what I love most about it. I feel very comfortable in playing, whether it be in front of a camera or on stage.
When I first moved from photography to filmmaking, I was worried about how big I had to become. I was one person, or maybe me and an assistant, and I had these small cameras, and maybe a flash.
One should really use the camera as though tomorrow you'd be stricken blind. To live a visual life is an enormous undertaking, practically unattainable. I have only touched it, just touched it.
In a lot of ways I look at these old photos, and I don't know if I would have been able to communicate with these people on this level if I didn't have a camera. I think I would still be so shy.
I always just wait for the right material to come to me. Many times people ask, "What have you been up To?" Well, I'm here and working. Just not in front of the camera as much as I'd like to be.
Being on 'Total Divas' definitely prepared me. Because when you're on a reality show, you're used to cameras following you. However, the big difference with 'Big Brother' is they do not turn off.
Here's the lines I draw: I never say something I don't believe - ever, ever, ever; and I won't endorse a product I don't like and use. When the cameras are off, we are who we are when they're on.
Sometimes I wear makeup while I play - I did it during the World Cup because the cameras were always on us, but for club, not so much. If I'm wearing it on the field, I try not to apply too much.
I don't actually like blocking actors. I prefer giving actors freedom. They don't have to step on a precise mark with me. Instead of giving marks to the actors I like to give marks to the camera.
In classical oil painting, there seemed to be a radical turn to seeing things as the camera sees them, with that technological modification. I began to have a tremendous problem with all of this.
I do believe that a film like Ten could never have been made with a 35mm camera. The first part of the film lasts 17 minutes, and by the end of that part, the kid has totally forgotten the camera.
I'm glad I took the leap away from acting into going behind the camera because it's much more satisfying - I love acting and I still do, but it's much more satisfying to be able to make the stuff.