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The main reason I went to digital was because I got time-lapse, video, and still images all in one camera. Having a minimal amount of gear is really important for someone who wants to walk around. That allowed me to have this flexibility to document things in different ways.
Some people, they feel like they have to change and try to go out and do this or do things for the cameras. I'm myself at all times, whether I'm at a grocery store or I'm speaking to a school. I want to be as levelheaded and down to earth as possible, because that's who I am.
At times those skills were really hard to do because not only was I having to contend with the camera, but I was having to learn these new skills and the ball was always kind of doing what you didn't want it to do. So it got a little bit frustrating at times but we got there.
Cameras help to minimize collateral damage, and very often, without a camera a missile cannot fire. Certainly, without a camera a drone can't function, which means that the very ways in which we wage war are determined in part by how cameras work and whether they work at all.
Aesthetics does not exist for the camera as an isolated entity. Aesthetics, in fact, is inseparable from the purpose of the photographer and the use he makes of his theme. When photography fails... it is usually because a false separation has been imposed on form and content.
One time I had an awkward moment on purpose, you know, just to see what it feels like. I slipped getting out of my car at a big event. I got out of the car and fell face first into the street. A lot of cameras were on me. I was pretty embarrassed. I did it on purpose, though.
I've always loved, as an Aussie, comedy is part of my life. My friends and I are always ribbing each other and that's how we get through the days. When it comes to cameras rolling and getting that timing right, the only way to do it and do it well is to throw yourself into it.
I'm a really uncomfortable person, so the whole Hollywood lifestyle - attention on me, the cameras, people telling me how to live my life, talking about me in a public way - none of that is appealing to me. Acting is amazing. But everything that comes with it is such a turnoff.
When the Voyager 2 spacecraft sped through the Saturnian system more than a quarter of a century ago, it came within 90,000 kilometers of the moon Enceladus. Over the course of a few hours, its cameras returned a handful of images that confounded planetary scientists for years.
Everything about filmmaking is incredibly weird, and there's nothing natural about watching yourself on the big screen or hearing your voice. It's that same thing that you feel when you watch yourself on a video camera and you hate the sound of your voice - it's that times 800.
Long before the arrival of reality TV - before speed cameras, before recording angels on buses and lampposts - I felt I was living in a country that already knew how to watch itself. It was journalism that held the responsibility for seeing who we were and noticing what we did.
You have two choices: You can take what you're given or build with what you've got. I choose to build with what I've got and try to make the best of it because I've still been given a stage. I've still got cameras in front of my face when I want them, and I plan to run with it.
'Oppam' is more of a director's movie, especially because I play a visually-challenged hero in it. The character doesn't have a perspective, and so cameras aren't placed like how they are usually done in other movies. The angles and the way the scenes are captured are different.
I just think that I'll never have plastic surgery if I'm not in front of the camera. If you make your living selling this thing, which is the way you look, then maybe you do it. But trust me, the minute I'm directing or producing and not starring, I would never even think of it.
When I worry about privacy, I worry about peer-to-peer invasion of privacy. About the fact that anytime anything of any note happens, there are three arms holding cell phones with cameras in them or video records capturing the event ready to go on the nightly news, if necessary.
The camera is the instrument that brings the inner passion and the outward event into harmony with one another, this linking, or, rather, this coincidence, is successfully brought about, then we find one of the things that no image-making medium can accomplish to the same degree.
Historically, privacy was almost implicit, because it was hard to find and gather information. But in the digital world, whether it's digital cameras or satellites or just what you click on, we need to have more explicit rules - not just for governments but for private companies.
It's strange, the lack of emotion, the absence of drama in reality. When things happen in real life, extraordinary things, there's no music, there's no dah-dah-daaahhs. There's no close-ups. No dramatic camera angles. Nothing happens. Nothing stops, the rest of the world goes on.
Some comedians you work with, they only turn on when the camera turn on, and they're like sad-faced clowns when the camera's off. And then, they come alive when the camera come on. And you be like, "Oh, damn. You're not a depressed ball of depression, but you are actually funny."
Most screenplays, most motion pictures, owe much more to the screenplay. Ingmar Bergman has such an economy of language, so little language in his piece, it is so visual, his moods are introduced and buttressed by camera rather than by word or character. But again, that's unique.
After having done this whole slew of press for 'Big Love', now I'll have anxiety dreams for like a week and a half about all the stupid things I said. I can't even imagine being in front of the cameras all the time. I had a weird dream the other night that I was on 'Jersey Shore.'
The railway was part scalpel, part movie camera, slicing the city open, parading its inner workings at fifty frames per second. It was on the S-Bahn that she felt least abandoned, as if the act of travelling turned back the clock, and brought her nearer to the future she had lost.
Gen Y is really quite distinct from Gen X; it's really self-involved and very narcissistic - their cameras are filled with pictures of themselves; Facebook, it's about me. It's a generation that's been pampered by their parents and their schools, given prizes for just taking part.
I'm not someone who enjoys long talks, long rehearsals. I'm very technical: I tell my actors, you come in, you sit down, you pick up a coffee, you look here, you say the line. We try it with the cameras rolling, and if it doesn't work, we adjust it until it does. It's very simple.
What's so fun when you shoot in a car is you get to research all the other road movies that have ever been done, and you try to figure out where do they place the cameras and how many shots can you get with your people in the car. So just doing the research on the films is so fun.
You know how in every heist movie they get past the security cameras that show the hallway leading to the diamonds by jamming the screens with a fake signal of everything looking safe and quiet? Usually a guard coughs so they don't notice the blip from switching to the bogus feed.
Walking down the red carpet, suddenly I felt very special and different. All the flashlights from cameras and requesting voices from the media, the scene, it was just like what I remembered seeing on TV or a movie when I was a little girl - the scene only when movie stars appeared.
The viral power of online media has proven how fast creative ideas can be spread and adopted, using tools like cellphones, digital cameras, micro-credit, mobile banking, Facebook, and Twitter. A perfect example? The way the Green Movement in Iran caught fire thanks to social media.
I'd grown up in the U.K., where the surveillance apparatus went into place in the 1970s in response to the Troubles with the IRA. When I was a kid, we moved to Chicago, and I was surprised to see you could live in a large city in which you didn't have cameras on every street corner.
I never knew anyone who came close to Marilyn in natural ability to use both photographer and still camera. She was special in this, and for me there has been no one like her before or after. She has remained the measuring rod by which I have - unconsciously - judged other subjects.
I sort of feel like my job is to be a conduit to opportunities, to maximize the creativity of the day itself - because that's when the cameras are running. That's the important thing to me. Some of these shots you need to think about in advance; you need to have some ideas for them.
... I began showing the black border of the negative as part of the image, something I'd never done before. I began to realize that the edge of the negative represents the shadow of the camera, the opaqueness of matter. It casts a shadow on the negative, so it's a photogram as well.
Everything has become so easy. It's great that it's at your fingertips, but I miss those good old days. And we're connected, but it can be very alienating. There is this distance between all of us because we're speaking to each other through cameras and monitors and icons and Emojis.
Cameras began duplicating the world at that moment when the human landscape started to undergo a vertiginous rate of change: while an untold number of forms of biological and social life are being destroyed in a brief span of time, a device is available to record what is disappearing.
With acting, you wanna see if you can get into trouble without knowing how you're gonna get out of it. It's like the exact opposite of war, where you need an exit strategy. When you're acting, you should get all the way into trouble with no exit strategy, and have the cameras rolling.
There are things that I am nostalgic about from the 'good old days.' I loved motion control cameras, actually. I love the way they sound. I used to do a lot of miniature work, and it's still warranted, but it's done less often, largely for budgetary, schedule, and flexibility reasons.
A lot of the stuff in 'Speed Racer' has never been done before, from it having a multi-tone, to it having a retro-cool family movie, to having the photo-realism with the CG-backgrounds and infinite focus the way they worked with these digital cameras, to even the color experimentation.
(1) The more thoroughly a photographer explores his subject with the camera (i.e., the more pictures he makes), the more he sees and the better his chance of getting good results. (2) Even slight changes in subject approach can make significant differences in the effect of the picture.
I'm working in a form of cinema that can be described, and has been described, as a diaristic form of cinema. In other words, with material from my own life. I walk through life with my camera, and occasionally I film. I never think about scripts, never think about films, making films.
It would be great to do another television show that was a multi-camera because the hours are so wonderful and you can be a good mom at the same time. The problem is, there aren't a lot of multi-camera shows that I personally like. My aesthetic is more geared toward single-camera shows.
Basically, I feel like people have always taken photos of themselves. When I was in college, I had these Polaroid cameras my friends and I would have so much fun with. Today, we'd be taking those pictures on our phones. I think it's just part of culture today... Why not have fun with it?
You have to have a character; you have to build your character. If you understand the pro wrestling scheme of things, then you understand what the promoting is. These guys are friendly backstage, but as soon as the cameras turn on, it's a whole different story: you become that character.
Cameras love pretty girls and craggy, old character men more than they can take craggy, old character women. But that's what's always happened. Work out how you can fit into it, and make that work. There are never going to be millions of parts for older actresses because there never were.
I photographed all kinds of sports - Formula 1, Formula Atlantic. And anybody who knows me knows that, from the day they invented video cameras, I used to lug them around when you had to carry the pack here and the big camera here, plus the diaper bag and a baby and the purse or whatever.
Our camera does not produce pretty pictures, but exact duplications that, through our renunciation of photographic effects, turn out to be relatively objective. The photo can optically replace its object to a certain degree. This takes on special meaning if the object cannot be preserved.
Here's the beauty of a camera: you don't have to come up with words for what you're looking at... Maybe another angle is needed sometimes. When we're burned out from writing, we can photograph or draw, look at the world in a different way, and photographers could try writing what they see.
With comedy, you get an immediate response. I'm the whole kit and the kaboodle. I am the whole thing and can steer the whole situation how I want to. With film, you are basically in one area. Comedy is straight to it and the film is heavily shaped the camera and editing, so it's different.
The helicopter was a U.S. Navy helicopter. There were no civilian helicopters available to film companies, so they just made some stuff out of two-by-four wood. And I would straddle a two-by-four out from the helicopter with a camera and what we call a high hat, which is a low metal stand.
As soon as I look up, his eyes click onto my face. The breath whooshes out of my body and everything freezes for a second, as though I’m looking at him through my camera lens, zoomed in all the way, the world pausing for that tiny span of time between the opening and closing of the shutter.
We've stayed with the business and even though we have the arguments and disagreements that eight guys in a building trying to do a job would have, we try to keep that off the cameras because it's too much drama. Really what it is is we have eight guys who are having fun doing what they do.