Quotes of All Topics . Occasions . Authors
I love the chemistry that can be created onstage between the actors and the audience. It's molecular even, the energies that can go back and forth. I started in theater and when I first went into movies I felt that my energy was going to blow out the camera.
The international community spends much more time and resources managing crises than preventing them. But TV cameras are seldom there when a conflict is avoided, so it is difficult for governments and international organizations to make prevention a priority.
We lived a lovely, middle-class, suburban life in Philadelphia. And I really thought that the TV programs of the '50s, like 'Father Knows Best' and 'The Adventures Of Ozzie And Harriet' Nelson were documentaries filmed with hidden cameras in our neighborhood.
I have developed my eye as a cinematographer through the craft of operating. When I am not operating, I am often anxious, uncertain, restless, sometimes irritable. When I am in the position of working with Steadicam or remote cameras, I fly with a broken wing.
Armies and former soldiers are working in the field to help protect elephants. Some have suggested staining the ivory; cameras and trackers have even been embedded within the tusk; others have arranged for tusks to be removed pre-emptively by conservationists.
I'm passionate about capturing amazing snowboarding action. I get so much out of the artistic endeavor of even getting one amazing shot in a pristine environment, using specialist cameras to showcase how fun and dynamic snowboarding is. That's what I live for.
I've been acting since I was 2 and have always been on camera but doing a video is different because when you're acting, you pretend the camera's not there and you just do the scene and with a music video you're right in the camera so it feels weird sometimes.
I always felt that if you're not trying something different each time out of the gate, you're being safe, and you don't ever want to find that place of safety. I like that, each time, before I even go in front of the cameras, the studio's reaction will be fear.
Unlike regular digital or film cameras, which can only record a scene in two dimensions, light field cameras capture all of the light rays traveling in every direction through a scene. This means that some aspects of a picture can be manipulated after the fact.
We have experienced an utter explosion in investigative techniques. Walk the streets, look at the cameras! They are now recognising people automatically from photos; we have DNA fingerprinting, infrascan photos that can identify you from the veins in your face.
Everybody gets inspired by different things. I grew up wanting to go up the street with a video camera because I liked watching David Letterman yell out of the ninth floor of Rockefeller Center with a megaphone at people on the street. I thought that was a riot.
I believe in preparation. As you already know we had to deal with many crews, 2 cameras. Also as I said we had to get many different actors because they tried to tamper with the project. I just liked doing the movie how I envisioned it. I wanted it to be my own.
I have a feeling that demonstrations don't accomplish anything. That they become fads. I also feel that demonstrations wouldn't go on unless there is a TV camera. That part of it all is performance for the media. I didn't know whether they are completely honest.
For those Muslim Chinese not in camps, Xinjiang is a surveillance state. Millions of artificial-intelligence-powered cameras use facial- and gait-recognition technologies to monitor individuals, Internet activity is closely tracked and DNA samples are collected.
I don't know if a pro wrestling career prepares you for Hollywood. When you get out there, and you're in an arena for 20,000 people or 90,000 people, it's a lot different than being on a quiet set with 100 people, so I think you get used to dealing with cameras.
Improv is not something I had a lot of experience with, because for a long time, my only experience in front of a camera was all television, which is pretty rigid script-wise, except for the occasional scene where you toss in an ad-lib just to elongate something.
Now there's a whole generation of filmmakers who grew up making their own films with video cameras, and have dined entirely on a diet of popular culture. It's been reflected in a lot of their work. It's self-reflective, it's quite knowing, but it's very literate.
Everyone pretends to be normal and be your best friend, but underneath, everyone is living some other life you don't know about, and if only we had a camera on us at all times, we could go and watch each other's tapes and find out what each of us was really like.
If you think hard enough about it, Rowlf the dog playing the piano on 'The Muppet Show' - what kind of insanity was happening underneath the cameras to make that happen? His mouth is moving, and he's got two hands playing the piano. That's two people under there!
What's troubling is that because the camera is 3D, the northern part of the screen isn't necessarily north anymore. So the jungle transforms into the true meaning of a jungle. For someone with no sense of direction like myself, I get lost in the caves every time.
I'm doing an over-the-shoulder shot on a dog. I'm putting the camera behind the dog's shoulder. This is craziness. You just accept it in the movie [Valley of Violence], but when you make the movie, it's the weirdest thing. There's dog coverage, like it's a person.
Of course, you do not do any research: you have to go there and do your film. It's not that I would travel there before without a camera and spend half a year on one of those volcanoes and then come back with a camera. You have to have some sort of a clear mindset.
I have a lot of appreciation for what people do in front of the camera as well as behind the camera. I don't think I could like one without the other. Eventually, I think the road will lead me down to producing or directing, because it's more about problem solving.
I prefer theater, but I love to do films, and I prefer theater primarily because I've done more. I know less about movies. You can't lie in either medium. The wonderful thing is that the camera, just like an audience, is made out of skin - because celluloid is skin.
Every time you get in front of the lights and the cameras and you think, 'Okay, well, we've done this before, but we have to do it again? Oh, we're doing it again? We're doing it again?' It's so gratifying, but I don't think I'll ever get used to it. I hope I won't.
I could take a cow and implant a camera in it and let it amble around the city or in its own domain (I say a cow because a human being I would not trust). If the camera was programmed to go off at an indeterminate series of moments, the samplings would be fantastic.
When you move the camera, or you do a shot like the crane down (in Shawshank) with them standing on the edge of the roof, then it's got to mean something. You've got to know why you're doing it; it's got to be for a reason within the story, and to further the story.
I taught myself to use a camera - it's not very difficult to use a camera, but I never bothered looking at any textbooks on how to make a picture. I had a much more casual relation to it. For me at the time it was much more about the process rather than the results.
Every photograph that is made whether by one who considers himself a professional, or by the tourist who points his snapshot camera and pushes a button, is a response to the exterior world, to something perceived outside himself by the person who operates the camera.
I'm closer to being happy. I'm doing things that make me happy. In football I loved to practice and I loved to play, but I hated to be in meetings, hated to talk to the media, hated to have cameras in my face, hated to sign autographs. I hated to do all those things.
When I began to photograph nudes, I let myself be guided by this camera, and instead of photographing what I saw, I photographed what the camera was seeing. I interfered very little, and the lens produced anatomical images and shapes which my eyes had never observed.
But don't get caught out there looking goofy. It's weird. When you do something that stinks, it's going to last forever on the Internet. There's always someone in the audience with a camera phone and if you're not 100%, you're going to be watching yourself on YouTube.
In an age of social media and content being key, it's important to change the mold where you have $100,000 to $150,000 for one video. I hired some guys that are young, just out of college, and we used some new, far-less-expensive cameras and technology to make videos.
Kai neared his desk again, seeing that the fugitive's profile had been transferred to the screen. His frown deepened. Perhaps not dangerous, but young and inarguably good-looking. His prison photo showed him flippantly winking at the camera. Kai hated him immediately.
After the war, there was no industry. We lost the war. We had our whole city destroyed. No money. No studio. No film. No camera. No equipment. We would shoot in the street. We had no actors. Nothing. But we wanted to do movies. And we did the best movies in the world.
I'm so happy that I finished college. Going into this crazy vortex of scrutiny is tough. If I was younger than I was now and I was going to fashion shows, I might have this distorted sense of self. I might rely on those cameras. Because when I was 18, I was half-baked.
Whenever television cameras are interviewing people in their homes, I tend to look over their shoulders and have a good snoop at their living rooms. I am always astonished at how clean they all look, with nothing out of place or unnecessary or dropped down any old how.
The first picture of his I ever saw was during a lecture at the Rhyl camera club. I was 16 and the speaker was Emrys Jones. He projected the picture upside down. Deliberately, to disregard the subject matter to reveal the composition. It's a lesson I've never forgotten.
The difference between 'Resident Evil: Damnation' and 'Resident Evil 6' is in 'Resident Evil 6' we did facial mo-cap, along with the voice over. We had these little reflectors glued to our faces and these head pieces in this room filled with light with about 40 cameras.
We need not wait for further, well-placed home video cameras to see that low-intensity warfare is being waged against low-income minorities. We need only listen to the voices of the poor; they can testify that they are dehumanized, disparaged, and despised by the police.
When kids like Steven Spielberg were eight and nine and 10, they had little cameras, and that's all they wanted to do. When I was 10, I was in my attic pretending to host my own variety show. Spielberg wasn't. That's why he's a film director, and I'm doing what I'm doing.
Sexuality, eroticism and desire are important for all of us. But that is also the contradiction. How can we speak about pictures and, for example, say no to this way of representing a woman's body? It's also a camera-and-object problem, of who is really guiding the camera.
About shadows: do we see shadows? Loads of people don't. A camera will notice a shadow, but how many people have got a shadow in front of them when they take a picture and don't notice it, and then they see it in the photograph because the photograph will catch the shadow.
My father was a painter, so I was encouraged to take a sketchbook everywhere. Cameras are perishable, but I still have tonnes of sketchbooks from all the trips I've ever been on. It gets you by when you don't know what to give people as a gift; drawings are good souvenirs.
I am simply the most conspicuous part of a large, thoroughly dedicated and professional staff that extends from just behind these cameras, across this country and around the world, in too many instances, in places of grave danger and personal hardship. They're family to me.
I love the idea of documentaries. I love seeing documentaries, and I love making them. Documentaries are incredibly easy to shoot. The ease with which you can hear something's going on, somebody's going to be somewhere: That sounds so interesting. Pick up your camera and go.
I was involved in an organization called the White House Project, and the woman who ran it introduced me to Bloomberg. I told them, 'You can pay me zero dollars, but I need you to give me a TV show to anchor, and I need you to hire someone to teach me where the cameras are.'
In the Belgian air force a general supposedly saw a UFO, tracked it with his plane, photographed it with his wing cameras. And I believe it because I said to myself why would this person, not getting paid for this, do it unless it actually happened or he thought it happened.
I had prepared myself for the second half of my life [to be] filled with other passions that don't include being in front of the camera. And then all of a sudden I got more work and more work and more work. And I went, "Well maybe things have shifted." And I think they have.
Editing can alter the original meaning and context, and computers can alter the image itself. The camera can also be manipulated. At the very least, it must be turned in one direction - only one direction at a time ... Who chooses what direction to point the camera, and why?