Quotes of All Topics . Occasions . Authors
There's nothing like the energy in a small comedy club room or a small theater when it's going really well. I can see everybody's face practically in the whole room. There's no cameras in the way, and it's just me.
If you can shoot well, all you need is a disposable, toy camera or a camera phone to create great work. If you're not talented, it doesn't matter if you buy a Nikon D3X or Leica; your work will still be uninspired.
Just think how minimal somebody's family album is. But you start looking at one of them, and the word everybody will use is "charming." Something just happened. It's automatic, just operating a camera intelligently.
I'm a visual filmmaker so the camera is a big part of my storytelling tool and it's something that I really rely on to tell a scene or create the suspense that I need and create the emotion of a scene or a sequence.
I am always surprised when I see several cameras, a gaggle on lenses, filters, meters, et cetera, rattling around in a soft bag with a complement of refuse and dust. Sometimes the professional is the worst offender!
The development of fast film allowed the subjects of our photographs to be caught unawares, beyond our or their control. But they are nevertheless caught; the camera holds the last lanyard of control we would forgo.
Having been in front of the camera just a couple of times, I'm empathetic, because it's very disconcerting. Someone shuffles you off to the trailer; you sit there for eleven hours wondering what the hell's going on.
If you're going to photograph skateboarders you can't run after them, you've got to learn how to skate. So at about 50 years old I learned how to skate, and skate fast enough to keep up with them and hold my camera.
Musicals and horror films can be very non-verbal and very pure cinema with movement. The camera is justified in being a character. It can really move and tell a story, and literally direct you to look here or there.
It's amazing I won. I was running against peace, prosperity, and incumbency." —George W. Bush, June 14, 2001, speaking to Swedish Prime Minister Goran Perrson, unaware that a live television camera was still rolling.
The minute you point a camera at something, you are manipulating the image, because you are cropping out whatever is to the left and right of it. The minute you put a light on someone, you are manipulating the image.
I don't pretend to make my photographs speak the truth of what Mexico is all about. But in its villages I can feel the way culture is changing, and it's fascinating to live through it and try to capture it on camera.
I got a unicorn horn on my head once. I said, "Can you really see that on camera?" My producer said, "You can see it from space." I would have to angle my head a certain way so that I didn't look misshapen on camera.
... photography, like all camera-made images such as film and video, effaces the marks of its making (and maker) at the click of a shutter. A photograph appears to be self-generated - as though it had created itself.
The job is the same - to attempt to make it sound like you've never said it before and as if it's just occurred to you. And that's the same whether you're on camera or whether you're on stage in a room full of people.
I was lucky enough to go to an all-boys prep school in upstate New York that had a film program, so we had access to 16mm Bolex cameras, Nagra sound recorders, Arriflex cameras. We even had an Oxberry animation stand!
I don't use film cameras. I don't do visual effects the same way. We don't use miniature models; it's all CG now, creating worlds in CG. It's a completely different toolset. But the rules of storytelling are the same.
Not being well-versed in that arena myself, it's a little bit frightening because I'm not very good in those situations with lots of people and lots of famous people and cameras and all of that. It's not my specialty.
Ronald Reagan had a kind of shallow movie-star charisma - a combination of makeup and the skill of a good actor - but it wasn't the real thing, and was something that he could turn off when the cameras weren't running.
He's a very funny and very nice man. When you read the script, you want to stick with it. But when you're with Eddie Murphy you've got to improvise. He's always making jokes and making me crack up when the camera's on.
I actually have come to believe that if people were more connected to their fellow human beings, if we all felt more centred and fulfilled in our lives, maybe we would be pointing our cameras at a lot less social ills.
I never studied directing and I never really thought about doing it, and then I just found myself in that situation and tried it. I like to be observing everything else, and I get self-conscious in front of the camera.
Once you get into your stride, the camera becomes like another person in the room. It's like being in a very small theatre where there is no getting away with anything because the audience is centimetres away from you.
I feel like if I started to use it [camera] that way, it would be like a sin almost. I never show people ugly pictures I take of them. I usually destroy them. So even if I like it, and they don't, it doesn't get shown.
The camera creates a magical transformation. It's not enough to exist; we must chronicle that existence. ... Narrative- and image-making creatures like humans don't feel any experience is complete unless it's recorded.
When I was on set I tried not to bug Steven Soderbergh too much. "Why did you put the camera there?" But he was very open to my questions and definitely being on his set was really thrilling because he's such a master.
We gave each other a hug, [Richard Pryor] said how much he admired me, I said how much I admired him, and we started working the next morning, and we hit it off really well, and he taught me how to improvise on camera.
Nothing. We're all friends and friendly. So when the cameras go down, depending on the mood or the nature of the material we're dealing with, there's usually a kind of a prevailing light attitude that's floating around.
If I hope to survive, I have to acknowledge the natural selection that goes on when film stocks and cameras are eliminated from the world. And film viewers won't want to watch the same thing over and over again from me.
I think I learned discipline on 'Jane Eyre.' Charlotte Bronte's dialogue, the intellectual duel between Rochester and Jane Eyre's character, is so compelling that you didn't have to do much with the placement of cameras.
Film and television is just a different technique in terms of how to approach the camera but basically the job is the same; but what you learn as a craft in theater, you can then learn to translate that into any mediums.
My co-stars call me selfish. They say you are only interested in yourself and what you are only interested is yourself and what you are doing in front of the camera. I reply, I can't help it; it's what got me where I am.
I always knew I wanted to be in front of the camera. But even after 10 years behind the scenes at CBS News producing live segments, celebrity profiles, and breaking news, I still hadn't been given the chance to be on TV.
Red carpets are awful. They're like a kind of purgatory - you stand there, and there are cameras flashing everywhere. One of my first red carpets was in Cannes for 'The Great Gatsby,' and I'd never seen anything like it.
In Goodfellas they have this one scene where the camera goes down some steps and walks through a kitchen into a restaurant and the critics were all over this as evidence of the genius of Scorsese and Scorsese is a genius.
I love improvisation. You can't blame it on the writers. You can't blame it on direction. You can't blame it on the camera guy... It's you. You're on. You've got to do it, and you either sink or swim with what you've got.
You put your camera around your neck along with putting on your shoes, and there it is, an appendage of the body that shares your life with you. The camera is an instrument that teaches people how to see without a camera.
So when I became interested in photography and further being inspired by the work that I saw of Ansel and others, it was a natural extension to go back to these places that I knew as a kid and explore them with my camera.
With reality TV, sometimes it's amazing chemistry and you get these gems that turn out to be everything you hoped, and the camera loves them and they just blossom on the show. And then sometimes it's not all you envision.
I know a lot of people who are very good at their craft who have learned - people behind the camera - who really have a lot to offer because they know what they're doing, they know what to do, they've made their mistakes.
Well, in terms of the filming with the car, you always wanted to be on the side which the cameras weren't, because - and it sounds ridiculous, but getting in and out of that car, all in leather, in the heat, was a problem.
The problem with not having a camera is that one must trust the analysis of a reporter who's telling you what occurred in the courtroom. You have to take into consideration the filtering effect of that person's own biases.
I do music because I can just pick up my guitar and sing, and completely satisfy, instant gratification. I don't need a script, I don't people, I don't need anything, cameras, I just have myself and my guitar, or keyboard.
There's a subtleness to camera work. You can really create intimate moments on camera and sometimes that requires a little more precision from an actor, because you have to pull people in as opposed to throwing it to them.
There is no right or wrong angle for something. The idea of putting the camera in an unfamiliar position is simply to do with film language. Sometimes it is spectacular, sometimes it is ugly, sometimes it is uninteresting.
Being a Diva is not easy. We are on the road 300 days a year. We don't get a lot of family or personal time. With 'Total Divas' on top of that, on our days off, we have the cameras following us, and that's not for everyone.
None. They should just go out and photograph and stop talking about it. That's the only way they are going to find themselves. They can't do it in their heads - they have to go out and do it in the camera and get it on film.
Airplanes don't just disappear - certainly not these days with all the powerful communication systems, radio and satellite tracking, and filmless cameras which operate almost indefinitely and possess huge storage capacities.
One of the phenomenons of American political life is that it all stops one day. One day, you've got 200 reporters and cameras, and everybody is hanging on you. And three days later, you're alone. And it's quite a transition.
With high-speed cameras, we can do the opposite of time lapse. We can shoot images that are thousands of times faster than our vision. And we can see how nature's ingenious devices work, and perhaps we can even imitate them.