Quotes of All Topics . Occasions . Authors
I find myself in situations that I know would be unbelievable pictures and I have to gauge, Is this worth taking the camera out? Am I gonna lose the moment? Am I gonna get a dirty look from Sting?
I plan to join the 'SNL' band as a maraca player and stand behind saxophonist Lenny Pickett. That way they will at least cut to me before commercial breaks. I'll be sure to look right into camera.
In the year and a half I was on SNL, I never saw anybody ad lib anything. For a very good reason - the director cut according to the script. So, if you ad libbed, you'd be off mike and off camera.
I just happened to have my camera and be photographing my friends. It was totally innocent; there was no purpose to the photographs. There was a purity to them that wasn’t planned; it was realism.
Making a film of a work you've played for six weeks gives you intimate knowledge of the character. By the time you go in front of the camera you've worked out the behavior and life of a character.
The artist of today is more than an improved camera, he is more complex, richer, and wider. He is a creature on the earth and a creature within the whole, that is, a creature on a star among stars.
There was a point a few years ago where I realized I started out playing boys on camera and stage, and then I translated that to playing boys in animated shows. I was like, "Whoa, this is intense."
I really think music and movement - dance, you know - and literature inform my visuals. I think film is also based in dance. The relationship between me, the camera and the actor is always a dance.
In an ideal world, I'd be able to do my shows in my pajamas. Luckily I've got one of the best stylists in the business, Rebecca Allen - she knows what looks good on camera and gives it a sexy kick.
You always hear actresses talk about how unromantic it is to act a love scene or a sex scene - which it is. You're doing it with all these lights on and cameras flying around and people on the set.
It's so hard, because everyone's got a camera-phone, and everyone wants to get their picture on the blogs. So they'll send anything that they have to the blogs. So you don't really get any privacy.
They both go together; you can't be in front of the camera hosting a fitness television show in front of 75 million households and not have trained 6 days per week year round - in a bikini no less.
I love my cameras. I love contact sheets. I love the visceral thing of film and I'm not positive that I can replicate my lighting digitally. My assistants tell me I can, but, just stubborn I guess.
I grew up in the business since I was three years old so I've always kind of been in front of the camera and grew up in commercials and I knew that I wanted to do it no matter what, I just loved it.
Sometimes there are four or five cameras in front of your face moving all over the place, and you have to try to see the person in between the cameras, and a sane person would go, "I can't do this."
In the beginning, my equipment, I would rent them from teamster-types, really. I don't know where they got the cameras - I think from the TV stations. But I don't know if they asked the TV stations.
The scary thing about the future... there will be tiny cameras everywhere, and they'll be flying around like mosquitoes and drones. That will be bad. Drones are scary. You can't reason with a drone.
You have to understand where the camera needs to me. There were times where you were suddenly aware where the cameras were, then you were in a different place and it didn't feel like the same movie.
Motion capture is amazing. I prefer it. You wear a 'Power Ranger'-esque suit, you have tape balls on you, you have 60 cameras around you capturing your every movement and there's no hair, no makeup.
It is shocking how much a day-care center is like a prison. They both have security cameras with walled exercise yards. Prisons are permanent day cares for people permanently in time-out - convicts.
The nature of the video camera really makes you focus on the present. Since I have always been a diarist filmmaker, not one who stages scenes with actors, it has always been about the present moment.
When they took me to do the camera test for the vampire make up, after they put the prosthetic on, I went though the entire process, I went back to my trailer and I looked in the mirror and I smiled.
You pick up a camera because something has been revealed to you in the landscape or in the human-scape. And you have no choice because it's a gift. And it's like, oh right, I better start doing this!
When in doubt, I can stare blankly. The rubber face. There's only so many ways you can stare incredulously at the camera and tilt an eyebrow, but that's your old standby: What would Buster Keaton do?
Life as it unfolds in front of the camera is full of so much complexity, wonder and surprise that I find it unnecessary to create new realities. There is more pleasure, for me, in things as-they-are.
In front of a big group of people, in front of cameras, to be in my body and be in that moment, I feel the way that I've always wanted to feel - like a real pop star who is not holding anything back.
I hope we'll be able to see that in our lifetime: the end of the camera! When I'm in Paris, I'll buy a big bottle of champagne and I'll save it for that day, for the day when they'll be no more camera.
Etta James is my all-time favorite singer. I've said it in every interview, in every story, in every on- and off-camera question. That music was always such a huge escape for me, even from a young age.
The complete disregard for the camera's presence indicates its complete saturation in their lives. The subject neither notices nor seems to care that someone has been invited into their private moment.
Many of my friends and colleagues are in the public eye, so they have to pay close attention to what they wear. But every woman needs to stay on her toes in this era of cell-phone cameras and Facebook.
For those who were desperate, my camera became an object of hope (...)Throughout my year-long coverage of the monsoon world, my strongest conviction was that I was involved in the fundamentals of life.
The trick is not to become somebody else. You become somebody else when you're in front of a camera or when you're on stage. There are some people who carry it all the time. That, to me, is not acting.
When it comes to my skin, I take it seriously. Being on camera and doing what I do, it's very important to start with a good base. So finding products that work really well with your skin are important.
When Jimmie Johnson goes out early and finishes 35th, as he did Sunday, he can look at the cameras, lament about it being a tough day, and then say, 'We'll just try to get them next week at Darlington.'
I also, since we have digital cameras, the blue screen composites are so good that I would rather shoot on a stage than there, especially the complicated sequences. The sun never sets in a studio stage.
We have to be aware of our profile all the time now, there are cameras everywhere. It can be difficult at times, we are young men after all. But we know we have to be careful. We have to be responsible.
I think that that's something that's pretty interesting about a GoPro - it's the one camera that we know of that you can combine with like cameras to form new cameras. So it's a bit of a modular system.
I loved photography but was frustrated by the limitations of cameras. When trying to take a picture of a friend's young, active daughter using my DSLR, it was impossible to capture the fleeting moments.
I do films to be behind the camera, not in front of the camera. I'm sure I say very intimate things about myself in all my films, but it's better to say it not too directly, to be hidden behind a woman.
I would get adult acne when it was somebody really famous I had to interview, so sometimes I would have to look straight at the camera because I couldn't look sideways or profile, because it would show.
If you can remain true to the people who know you the best and not be sidetracked by the flashing lights and glimmering of the cameras, it's like, just being down-to-earth and just kind of staying real.
All too frequently the amateur will purchase a fine modern camera and proceed to use it for making the most elementary simple snapshots. This surely is like playing 'Chopsticks' on a concert grand piano.
With dancing, you have to know spatial movement with somebody. It is steps. It's literally steps and knowing how close to be or how far away. You have to have the beat in the right place with the camera.
This is how you can tell a real photographer: mostly, a real photographer does not say 'I wish I had my camera on me right now'. Instead a real photographer pulls out her camera and takes the photograph.
I like buying drones, hover boards, 360-degree cameras and fabulous cars. I am a little bit like a boy. I also spend a lot on books. I am a voracious reader, and I love vintage stores and first editions.
But in the old days, visual artists used to fall into two distinct categories: those of us who created images with cameras and those of us who applied stuff onto other stuff, with brushes or other tools.
You're in front of an audience, but you're playing for a camera. There's this huge adrenaline rush, because you know that besides the audience in the studio, there are millions of people watching at home.
[The building of the transcontinental railway] was something truly earth-shaking and, whether or not there had been a dime in it for me, sooner or later I would have been out on the grade with my cameras.
When you perform in front of an audience after only two days of rehearsal, you're flying by the seat of your pants - particularly when they're rewriting the show right up to the moment the camera goes on.
I was always in front of the camera. My mom was really passionate about photography - I have pictures of my whole life. I've always just been in front of my mom's camera and it's always comfortable to me.