Camera Quotes
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I had a list of 10 rules when we started 'Strong Island,' and one of them was, 'Yance will never appear on camera with sync sound.'
As an actor, the first thing you're taught is, 'Don't look into the camera; ignore it.'
I never expected a camera was going to follow all of my moves, and that was surprising when I saw it for the first time.
I get my flow from Daddy, my singing ability from Mommy, the camera stuff from both. That's just what happens when you hang out with the Smiths.
For my first book, 'New York,' I had one camera and two lenses. It was fotografia povera.
The camera introduces us to unconscious optics as does psychoanalysis to unconscious impulses.
The world just does not fit conveniently into the format of a 35mm camera.
Whether I am on a stage, behind a guitar or in front of a camera, I get paid to misbehave. Fortunately, misbehaviour is something I have unlimited supply of.
It's such an awkward, strange thing that was concocted, to have auditions. Back in the old days, you'd just have a screen test, and they'd say, 'Oh, you seem natural in front of the camera,' and you'd just go do 10 pictures for Paramount or whatever.
Fortunately, I've never been very conscious and inhibited of what I have to do. The camera's my soul mate.
It's not that easy, but the moment the camera is switched on, I have to mould myself to breathe life into the characters I portray.
My father came to Hyderabad to become an actor, took an acting course, and realised he was camera conscious.
The actress they'd hired had refused to appear naked in front of the camera. I didn't like to appear naked either, but the first thing I did was take off my clothes and jump into the pool completely naked.
I've really learned over the years how to control my adrenaline and let it all out when they shoot the gun versus letting the crowd and the lights and the camera get to me.
I was just terrified in front of the camera. I couldn't even say my own name. I walked out of a handful of auditions. I mean, ran out in cold sweats. I was just so nervous and insecure.
People bring camera phones into comedy shows and clubs and concerts, and sound bites never come out right.
I do have a concern about projecting. I've never projected or had any reason to project before. In fact, the camera has only gotten closer to me going from TV to film.
As with instant replay, NFL Films' use of slow motion, camera angles and the narration of Facenda was not just a technical breakthrough but a conceptual breakthrough.
I've always viewed myself as a behind-the-scenes person rather than in front of the camera.
I was a highlight coordinator. My job was to go in and watch games, watch and type. Basically every time the camera frame changed, I had to log it as something: 'Emmitt Smith rushed for 4 yards... Close-up of Jimmy Johnson on the sidelines... 37-yard field goal.'
I'm much more comfortable and confident running out on the field in front of 70,000 people instead of standing in front of a camera trying to say some lines. The people who do that as a profession are very talented because it's certainly not easy.
For film at the beginning of the 20th century, they didn't even know what editing was yet. Actors didn't know how to perform in front of the camera. There wasn't sound.
The less the camera is able to capture what you're seeing in a scene, the more editing it needs.
Ellie Kemper I just adore. She is such a warm, generous actor, and we have this wonderful rapport off camera, and that's very important.
You never learn to act in front of a camera. You never learn anything in front of a camera. But you learn to act in a rehearsal room with a good play and a good cast and a good director.
A good browser, apps, good camera, and fast networking in your smartphone is just expected today.
When you're on film or TV, essentially you're in front of the camera. Unless it's a Tim Burton thing, the desire is to be real and grounded.
I spent a lot of years just learning my craft and falling down in front of the camera.
Yeah, I kind of grew up in front of the camera: I started modeling when I was two.
I'm not in front of the camera, they are. I encourage them; I build up as much of their confidence and ego as possible. They've got to take control; I can't act it out.
I also know what looks good before the camera, how to move the camera, and how to get a story on the screen.
I've always been intimidated by the technicalities of taking photos, especially with a film camera - not just a point and shoot.
The stage and working in front of a camera are two completely different mediums. Each requires different techniques.
Even if one is not a great actor, just being in front of the camera requires a lot of effort.
One thing I hate in movies is when the camera starts circling around the characters. I find that totally fake.
I'm really into both sides of the industry - in front of the camera and behind the camera. I love the business side of it; I love all of the contracts and negotiating and the different connections that you can make.
Pictures are much harder to do than the theater... You're at the mercy of the camera angles and the piecemeal technique.
The camera makes everyone a tourist in other people's reality, and eventually in one's own.
One of my passions is photography. I always carry a camera in my bag whenever I travel. I always take pictures wherever I go, and some of them end up being really crazy ones.
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.
I take my camera to shoots and ask all the photographers and assistants to show me what to do with it.
I like the smell of film. I just like knowing there's film going through the camera.
When I was fifteen years old, my dad won a video camera in a corporate golf tournament. I snatched it from his closet and began filming skateboard videos with my friends.
I started out making skateboard videos. Soon, it dawned on me I just wasn't that great at skateboarding. So I put down the skateboard and just kept going with the camera.
My philosophy is that I'm an artist. I perform an art not with a paint brush or a camera. I perform with bodily movement. Instead of exhibiting my art in a museum or a book or on canvas, I exhibit my art in front of the multitudes.
When I talk to the camera, mate, it's not like I'm talking to the camera, I'm talking to you because I want to whip you around and plunk you right there with me.
I'd like to own a movie camera - a proper one, with film, not a digital thing. Celluloid has more character.
Film and theater are about misdirection and making the audience see something. I find it interesting. One of the things we do in 'True Blood' is shoot all of our stunts in camera. Instead of doing some kind of visual effect, we try to make it happen.
Even my own auntie asked me once if I was pregnant after seeing me on the telly - that's just life on camera.
Perhaps it sounds ridiculous, but the best thing that young filmmakers should do is to get hold of a camera and some film and make a movie of any kind at all.
The common ancient ancestor of mulluses and chordates could not possibly have possessed a camera eye, so quite clearly they have evolved independently. The solution has been arrived at by completely different routes.
Mum has discreet spontaneity - she has an ease in front of the camera, which comes naturally - whereas dad is a kind of an acting ninja. He attacks you with his acting, which is overwhelming.
I often wonder when I make a film - I'm thinking of making a film of the Buddha - and I often wonder: If Buddha had all the elements that are given to a director - if he had music, if he had visuals, if he had a video camera - would we get Buddhism better?
I don't understand 'The Only Way Is Essex' and 'Made in Chelsea': the way they pretend there's no camera. I cannot fathom the attraction.
I'm an actor by choice and I love facing the camera. There's a little bit of exhibitionism in all of us. We like the limelight.
Everywhere you go you hear things that are untrue. You've just got to learn that if I don't say it, physically out of my mouth, on camera, it's not true.
The thing about producing is that the pressure is off of being in front of the camera, and being critiqued and judged in that way, but there are other pressures producing.
In my 20s, I was a monk. I was obsessed with theatre, not being famous, not with television. I was 20 years on the stage before I set foot in front of a camera.
When I'm on an adult set and I'm in a scene, I am myself. I'm not acting. I am playing to the camera, definitely, but I am myself.
I love photography. My boyfriend's got a great camera, which I bought for his birthday.
I've always been involved with all aspects of my careers. Being behind the camera seems as natural as in front.
'Devdas' isn't a real film. It isn't in the same genre as Mira Nair's 'Monsoon Wedding,' where the camera's presence is so understated it almost disappears.
I've been in front of a camera since I was a little girl, and that's the medium I understand.
I've always been interested in the camera and the effects of it - that's what drew me to film in the first place.
People are so used to having their lives filmed, they're not even conscious of having cameras around. I still have that sort of suspicion when a camera comes out. I view it as a thing to fear.
I was very happy when I was doing my first two films: 'Student No.1', 'Simhadri'. I had absolutely no doubts - I would just place my camera at one point and say, 'That is the right way.'
You have no idea what you're passionate about until you give it a shot. If I hadn't been given a guitar or a camera or whatever, I'd be doing something different.
I think I'll always prefer theater to working in front of the camera. It seems a more distilled form of the craft.
I'm no snapshot artist. I make very careful choices always, even if I'm using a 35mm camera.
You don't want to be the guy whose back's to the camera in the emotional part of the movie. So, you have to be aware of the camera movement and what the camera's doing.
It's a well-known fact that the TV camera adds 10 pounds. I don't want to say that I've been calling my Jenny Craig consultant a lot, but I'm pretty sure I'm the first spokesperson whom they've considered filing a restraining order against.
I never do anything for the camera. It's my job to pretend the camera's not there. I'm never moving for the camera.
If there's a camera on me or off me, it's roughly the same, just a lot less energy.
I felt very insecure about whether I was up to recreating my stage 'Fagin' in front of a camera.
When you shoot a movie, the camera is always taking, taking, taking and not giving anything back.
There was never a day at West Point where I didn't ask myself, 'Where would I put the camera?'
I'm working 2 days a week right now, narration usually on Wed., and host on camera on Friday.
Over and over again-in the movie, I have nine different people who have worked for Fox News network who have come forward and talked on camera, three of them anonymously, by the way.
Richard Leacock and I ran into a guy who knew how to carve up a camera, and we had him carve one up for us. We had him chop it down and change the gears from metal to plastic, which would cut down on the sound it made when it was running.
When we made 'Primary,' it was just one camera. We were trying to make ourselves inconspicuous.
Look, Hollywood's a mecca, but it's not the final answer. You pick up a camera anyplace in the world, you can make a movie.
Hollywood's a mecca, but it's not the final answer. You pick up a camera anyplace in the world, you can make a movie.
Biologically, I'm lucky - an angular face and dark colouring which shows up well on camera.
Being a songwriter does not rely on an audience or other band members or a camera. I can just sit in a room and write songs.
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