Quotes of All Topics . Occasions . Authors
One of the things that I love about voiceover is that it's a situation where - because you're not encumbered by being seen - it's liberating. You're able to make broad choices that you would never make if you were on camera.
When I was younger, I did things with a camera I would not do by myself. I remember going down to the docks in San Francisco and asking a fisherman if he would take me out on his boat. I would never do that without a camera.
I'm telling you, if you want to have good advice, never pay any attention to the camera guys because they will tell you over and over something is wrong and let's reshoot it, let's do this and let's do that. Hey, just do it.
The act of photography is like going on a hunt in which photographer and camera merge into one indivisible function. This is a hunt for new states of things, situations never seen before, for the improbable, for information.
My main camera is a Nikon D3. I use a French camera from the 1800s for wet plate photography, I use a Hasselblad sometimes. But to me the camera really doesn't matter that much. I don't have a preference for film or digital.
He [Andy warhol] went out every evening to five or six parties with a tape recorder in one pocket and a camera with extra film and batteries in the other pocket, constantly recording and photographing everyone he came across.
I was looking at this picture of Brooke Shields at Studio 54 the other day. Everyone in the shot looks amazing because they have these black and white cameras with a flash. I think that's what photographers should go back to.
One of the secrets of being a great photographic model, as it is for a great film actor, is that you let the camera in. It's an intimacy that the model or actor creates with the lens, that then transmits itself to the viewer.
I used to watch 'The Apprentice' all the time and I thought Bill was a fox. That was that, we didn't see each other for years, and then we saw each other and 45 minutes after the cameras stopped rolling, we were still talking.
With film, you have very limited tools to convey subjectivity - voiceover, the camera's point of view, good acting - but even the very best actor in the world is crude by comparison with what you can do in a written paragraph.
All the films are hits before you turn the camera on. It's only in the execution that they fail. I've been less than happy with the way a couple of films were edited, but it's a director's prerogative and you gotta go with it.
I've learned so much from just being in film industry. I definitely want to stay in front of the camera and learn more from as many people as I can. Somewhere down the line, writing, directing and producing would be fantastic.
It adds up, but I deem it all necessary, even the camera gear. I enjoy photographing the otherworldly colors and shapes presented in the convoluted depths of slot canyons and the prehistoric artwork preserved in their alcoves.
I love the idea of thinking of cinema as not that far from music. A lot of my favourite movie makers, the way they move their cameras or the way they cut just feel very musical - even if the movies have no music in them at all.
We as comics do want an immediate response from the audience. It's really quiet on the set, and there are only the producers, and the director, so a comic is looking for someone to give a reaction, even if it is the camera guy.
In some ways any film that you do has an artificiality about it. Even when you're doing the most kitchen-sinky, gritty, realistic scene you've still got 50 people standing around watching you with cameras and lights and things.
I like anything with a live audience. I love sitcom work. I hope it comes back in fashion because I really love it. I love single-camera work, too, but in a different way than that live-audience thing, which is really exciting.
In the theater you rehearse in order to do the performance. And in the movies the rehearsal and the performance are kind of the same thing. You're figuring it out and hopefully the camera is pointed at you when you're doing it.
I have a Master's Degree in photography as a fine art, and I would call my work primarily conceptual. I don't carry cameras with me wherever I go. I get an idea of a subject matter I want to deal with and I pull out my cameras.
I don't like working by a monitor. I stand right next to the camera, and I'm very performance-oriented. That really means everything to me, whether it's doing an improv of a joke or an emotional scene, and everything in between.
So when I got the chance to do my first talk show, 50 years ago last month, I never had any writers. There was no budget - it was just me and the camera and my friend who was the director. I talked about what I'd done that week.
When the camera is looking back at our planet Earth, it's the tiniest of specks somewhere out there in the universe. So we do have a new sense of proportion. Of course the volcanoes and the magma under us just remind us of that.
I don't like horror, which is ridiculous because I've been in three horror movies, but when I see those things, I see camera tricks and fake blood and actors screaming and I don't know understand why other actors don't see that.
I have pictures of my daughter, in the hospital, at three seconds, six seconds, nine seconds, and then fifteen seconds, 'cause dumbass couldn't get the camera ready fast enough. Yeah, ha ha ha. She wrote that in the photo album.
What most artists using photography feel that they need to do is to show that they are serious, that they are not taking snapshots. To point a camera at something does not qualify you as an artist because everybody has done that.
When i've done camera test, after we've shot and I've seen the monitor with the glasses (wearing a Kimono) and looking by myself in 3D. Oh my god. Especially for a Samurai film. I've never seen that. It's kind of a culture shock.
For the most part, improvising while cameras are rolling is very difficult. 99% of people you should never ask to do that, because they're under pressure, the clock is running, 80 people are staring at you...it's always unnatural.
The reason why those female celebrities are always in filthy moods is not because they're being hounded by men with massive cameras or because Ridley Scott cancelled their film. They just want to get their hands on a cheeseburger.
Well, in terms of what a camera does. Again, you go back to that original idea that what you photograph is responsible for how it [the photograph] looks. And it's not plastic, in a way. The problem is unique in photographic terms.
You know, I do music. If you look under the hood of the industry I'm in, it's all based on technology. From radio to phonographs to CDs, it's all technology. Microphones, reel-to-reels, cameras, editing, chips, it's all technology.
I thought all I had to do was to buy a camera and become a film director. So when I left school I worked at a telephone company, which gave me the money to buy the basic equipment including the camera, the projector and the screen.
I worked on 'Sarah Connor' even longer than 'Firefly.' And I always remembered how generous everyone was to me when I didn't know what to do, and I didn't know the rules, and I didn't know camera angles, and I didn't know lighting.
[The Polaroid camera is] a system that will be a partner in perception, enabling us to see the objects in the world around us more vividly than we can see them without it, a system to be an aid to memory and a tool for exploration.
I feel very, very grateful. I'm a lucky guy, you need a lot of luck, and then when the cameras roll, you have to have this group of writers, directors, and actors that just gel, and it seems to literally be happening more and more.
Really good portraiture is a two-way street where someone is throwing little gems out and you're grabbing them. Very few people have a 100 percent fluency in being able to do to do this - this kind of magical reaction with a camera.
When we began, we used chatrooms on AOL and Yahoo! and nowadays, we have dozens and dozens of ways to communicate. Technology has improved - for everything from the cameras to the microphones. It's a whole 'nother playing field now.
I prefer directing to acting. There is huge freedom that comes from being behind the camera. It brings a lot of responsibilities as well, but is intensely rewarding. Particularly the chance to help draw out the best in young actors.
My aim in photography is always to convey a mood and not to impart local information. This is not an easy matter, for the camera if left to its own devices will simply impart local information to the exclusiveness of everything else.
The '80s were a time of technical wonder in filmmaking; unfortunately, some colleges didn't integrate their film and theater departments - so you had actors who were afraid of the camera, and directors who couldn't talk to the actors.
I guess it turns out choosing your life partner from a group of men trying to get their break in show business by sitting around shirtless in a swimming pool while cameras watch around the clock isn't the path to a soulmate after all.
Depending on the budget [whether to use 3D on future movies]. I think I prefer 3D to 2D now. Also, because of 3D I have to use a digital camera, which is the way it's going anyway. That still confuses me, a digital camera versus film.
Everything you see comes from inside. People don't see it but inside the dressing room we laugh and joke a lot so it's not just for the cameras. It's the way things are off the pitch too. We are happy for each other, it is all natural.
There's so much more freedom in film as far as subject matter and what can be said. And then, also, the process is different because there's more time. On movies there's just so much freedom and space to explore in front of the camera.
See, people are watching you. Especially your children. They're taking in every single thing you do. They are like video cameras with legs. And they are always in the record mode. They learn more from what you do than from what you say.
There's this thing that publishes pictures of people out and about. So when I go out, I do see pictures of myself. I don't know where those pictures come from - I mean, I don't see the cameras. But I guess I'm just not looking for them.
We're constantly striving to bring something new and different to the table, either in the way that we're using the cameras, or the storytelling we're using in the scene, or the way that the characters are being motivated by the action.
After I did nine years of a television series, I didn't want to do anything really that involved going to a set and being in front of a camera for quite a while. And when I did start to want to do things, I wanted to focus more on film.
You can freak when you are at the Olympic Games. There are millions of cameras. Everyone is watching every move. Some people will trip where they would never trip in a routine. It's the small thing that nerves really bring out in people.
I was, like, talking to these kids, and I look up, and there was, like, 25 cameras around me. And I ran. I ran away. I, like, straight up ran away, and I was so scared, and then, like, it happened, and after I was done, it kinda sunk in.
The fans are bad everywhere you go, with language, and with behavior. You can't put enough cops in the stands, but you ought to give the cops cameras, give people cameras, so they can take a picture of the idiot and you can identify him.