Camera Quotes
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I wish that every director was as interested in doing as much in camera and with physical objects as much as possible as J.J. Abrams is.
I knew from early on I would go to film school and try to work behind the camera.
Tak Fujimoto and I, when we started getting enough of a budget where we could afford the right lenses - 'cause we started out doing low-budget pictures together - we started experimenting with this subjective camera thing. And we kind of fell in love with the idea of using that as our close-up.
People see themselves on camera. They're ashamed of the things that they do, so they have a choice: Either they accept responsibility for it, or they blame the show for it. It's a human reaction.
I did come to L.A. to try to get on TV and get in front of a camera, so I could have a stage career in New York.
'Donnie Darko' was my first audition ever! It opened my eyes to the possibilities within camera work.
I was bullied as a kid, and I got a job on television. And I had a camera. And so I wanted to go after those business bullies. And I just have been following that instinct.
I do think that television, in its early years, played a significant role in that standard-setting, enforcing a certain decency among people. They took their role seriously, and the people behind the camera took their role seriously, too.
And the camera position, the organization, looking for repeating forms, shapes, trying to set up a visual rhythm seemed to come very natural. All of a sudden I was in a forest of aluminum and steel rather than a forest that we might think of in a traditional sense.
And then as I frequently do, some times I'll peek out from underneath the focusing cloth and just look around the edges of the frame that I'm not seeing, see if there's something that should be adjusted in terms of changing the camera position.
I am both so beaten up and bolstered up - I've gotten so many criticisms and accolades - that the fulfillment happens on the floor in front of the camera, not when the project comes out.
We were on a fairway shooting a scene in 'The Dogleg Murders' when I was asked by the cameraman if it was safe to film from where he was standing. I said, 'Yes, it'll be fine.' I then managed to slice the ball 90 degrees into the camera.
I stumbled into this business, I didn't train for it. I yelled 'Action!' on my first two movies before the camera was turned on.
George Lucas wanted this moving camera for all of the photography in Star Wars. He was willing to take a risk with the concepts that I advanced with regard to ways for doing that.
I became interested in film making at around 16, when I discovered a friend of mine had a HI 8 camera which belonged to his father, which we were forbidden to use.
The first time I went behind the camera was in 1993. I felt, 'This is my thing,' and I knew that someday I'd make a feature.
Ansel Adams rattled around the Southwest with his battered truck and his view camera, which looked like a giant accordion with a lens attached to it.
I've been a big fan always of getting my camera in different places and trying to seek the unusual vantage point.
I've hidden behind the camera my whole life because I much, much, much prefer shooting. Being behind the camera is my safe space, and it's my creative space, too.
In the car and in front of the camera I tend to be very calm but behind the scenes I can get fired up and passionate, I just don't see the need to shout my mouth off in public.
I love Polaroids and I have a Polaroid camera collection from the '50s.
Dropbox, with its emphasis on good old-fashioned hierarchies, is superb at automatically saving one original of each photo I take, whether shot with a phone or a fancy camera. No loops, no duplicates, no confusion.
Every industry has standards. For example, the motion picture camera, there are 2 or 3 film formats with a number of brackets and number of speed, a shooting speed that is standard. If we didn't have that, then some motion pictures will play back too slowly, and people would talk very slowly, and it will be bizarre.
I think I was afraid of what I might say when I got onto someone's stage or in front of someone's camera.
There's one right place to put the camera. I'm a big believer in that. You'd think you could put it anywhere. Nope.
During 'Anna Christie,' the biggest challenge I had was working with my daughter and sort of not stopping and asking an audience member for a camera to record the moment.
Everything about camera movement, about how film was made, shot architecture, and time management... I was horrible at all that.
It's one of my favourite types of comedy, just the awkward moments on camera. For many people, it's unbearable to watch, but I love seeing it when it's done right.
No baby boomer has a completely original idea, but after 13 years on 'Today' and another 11 on 'Dateline,' almost 30 years total at NBC, I felt the urge to find out what was 'behind the camera.' I had the feeling there was 'something more,' though 'more' might be less.
There are so many ways to make a living that don't involve hiding in bushes opposite houses of 18-year-old girls with a camera in your hand.
I have done my best. I saw a fatal flaw in the camera industry. We did our best to address it.
I have a Bolex, Aaton, Arriflex, Eyemo, Filmo, Mitchell, Photosonic, Beaulieu, Keystone - just about every movie camera you can think of.
What separates us from other camera companies is that the vision guy is the decision maker. That was one of my biggest advantages at Oakley, and it's the same at Red - I'm in the trenches, in the product development, and I make the final call.
The concept of Red was to build a camera with as much capability as possible... for the professional market. Then we thought we could extend it down a bit to the prosumer level. Apparently, that was a mistake.
'Muppets' was very much an exercise in anti-CG and the anti-effects world. It was very much in camera. We wanted to create a world where tangible puppets walked around and talked to each other. You could touch them. You could meet them.
I started out with this dream of being a director and doing cinematography and bought my first film camera at 15.
I almost became a music major, but somehow I was so enthralled with the camera and becoming a director that I stuck with film school and theatrics.
Off camera, I'm, like, chill and very laid-back. I don't know if the word is 'shy,' but 'reserved.' I'm always thinking.
No matter how many helicopters there are, when it comes down to it there is the camera and you.
I wanted to write or direct more than I wanted to be in front of the camera. I still occasionally feel completely uncomfortable being looked at.
I even agree with the new digital ways of filmmaking, where you don't even have physical film in the camera, but to be honest, I wouldn't want to use it.
I have always stood in awe of the camera. I recognize it for the instrument it is, part Stradivarius, part scalpel.
If there were teenagers who had a video camera and saw what I did on a daily basis, they'd be bored out of their mind.
It was a scene I was really looking forward to, and one that I embraced, and when we were filming it, George got closer and closer and closer with that camera - he was practically up my nose for the final shot. So I knew it was a moment that I had to do my best to get right.
We get so many requests like, 'We want behind-the-scenes access,' or 'We're going to show people what it's really like to be on the campaign with Donald Trump.' But there is just no way that a camera or an episode or a documentary could capture what has gone on.
I really enjoy blocking and staging. I think most of visual storytelling is camera placement and how to stage action around the camera.
I'm so entranced by what unfolds in front of the camera. It seems wonderfully out of my control.
With 'Nobody Knows,' I consciously set out to make a fiction film, which is a different approach from 'Distance,' but I still applied a lot of the things I learned from making 'Distance': for example, how to use the camera in relation to the children and how to create the right atmosphere on set.
I'd beg to differ from the common perception that real-life soul mates don't make a good pair on camera.
In classical oil painting, there seemed to be a radical turn to seeing things as the camera sees them, with that technological modification. I began to have a tremendous problem with all of this.
I operated a periscopic TV camera so the commander, Anatoly Artsebarsky, could establish where we were heading. It is real teamwork on Soyuz.
Theatre is liberating because it only works if it's truthful - that's what it requires. That's not true of film: the camera does lie.
In the year and a half I was on SNL, I never saw anybody ad lib anything. For a very good reason - the director cut according to the script. So, if you ad libbed, you'd be off mike and off camera.
The less friendly your relationship is on camera, the more useful it is to be friends with them off camera.
I worked a lot on 'Conan' as an actor, and when I moved to New York, a lot of my friends were on the first staff of that show. I started doing bit parts, which was the first thing I'd done on camera in front of a live audience.
I bought my first camera in Seattle, Washington. Only paid about seven dollars and fifty cents for it.
The camera, I hate it. That's something I need to endure while working as an actor. In the end, because of fame, Gong Yoo exists. It's the driving force that keeps me going.
My biggest challenges when I first started out were not having a computer or camera or Wi-Fi! The computer and the camera had to be borrowed, and there were times that I used the computer at the library, and I literally sat outside people's houses to steal their Internet connections.
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.
My first time on camera was 'One Life to Live.' I mourn for actors coming up that the daytime soap opera is becoming extinct. It's theater onscreen.
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.
I like the camera to be still and not very shaky and have everything happen within the frame.
I learned quickly at Columbia that the only eye that mattered was the one on the camera.
I confess it, I love the camera. When it's not on me, I'm not quite alive.
Making a pretty picture, an image, is a completely different thing from acting to camera.
The dynamic range of a digital camera is not that much greater than film, particularly if you push the ASA a little bit.
If someone put a camera in my face now, when I am in student mode, I would get embarrassed, but when I am modelling, I play characters.
We never want to see anyone go in front of the camera or behind the mic without union protection.
Film gives us the luxury of deciding where the viewpoint of the audience is, and by knowing that, we can very effectively design around what is actually seen on camera.
It is unfortunate that the poor judgment shown by a small group of young actors has tarnished the reputation of every child who has ever appeared before a camera.
Directing is literally what I've always wanted to do, ever since I was a kid. So I love the career I've built behind the camera.
Going to directing wasn't a reaction away from acting as much as it was a move towards something I always wanted to do. Ever since I was a kid, I was interested in the camera and how it worked and why one director would place it in this part of the room and then another would place it in that part of the room.
When I made 'Eight Below,' they wanted me to shoot digital, and I didn't want to do it because that's just what I need, to get a great series of takes and then find out the camera was frozen.
I was very stale at Fox. Much of it was my own fault. I was lazy and didn't fight for things I wanted to do at other times. Most of my stuff consisted of setup/punchline jokes to the camera - a very old-school approach. I was part of the establishment, I guess.
The film of tomorrow will not be directed by civil servants of the camera, but by artists for whom shooting a film constitutes a wonderful and thrilling adventure.
I have always been a very keen walker, though, and I often took a camera with me on my walks.
When I made my debut as an actor in 'Rock On!' I was confident to get in front of the camera.
I don't have a typical filmmaker background. I didn't grow up with a super eight camera or a video camera. I didn't start cutting movies when I was four or five.
I always direct next to the camera and watch my actors, and so you can see the small things that you can't see on the small screen but you can definitely see on the big screen.
There are certain men and women who, from the minute they step in front of a camera, that's exactly where they belong. Connery's one.
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