Camera Quotes
Most Famous Camera Quotes of All Time!
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In the '50s, I was traveling alone all over Mindanao, Basilan, all the way to Tawi-Tawi with just a camera and a notebook. I always stayed in the houses of Moros.
The director can't do your job for you. He can't get in front of the camera and perform your part.
I love the idea I can go off with a single camera and a few rolls of film unencumbered... I was not interested in the illusion of reality, I wanted to get close to what was happening.
It doesn't matter if you use a box camera or you use a Leica; the important thing is what motivates you when you are photographing.
There is only you and your camera. The limitations in your photography are in yourself, for what we see is what we are.
I was mainly a stage actor. I found film acting mechanical, because it was so technical - there was so much technique with the lamps and the movements of the camera.
I really learned how to act on camera through 'Power Rangers' because I hadn't done a lot of film and TV.
I wanted to become a director before I wanted to become a writer. When I was 10, people would ask me what I wanted to be when I grew up, and I said, 'Walt Disney.' I wanted to make films. But I wasn't offered a camera. I was offered language. So I started telling stories in the theatre and then in my novels.
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.
On 'Y Tu Mama Tambien,' we started exploring shots that are longer, where the camera is moving around the actors, and there are no cuts, and you feel like you're there.
So anyway, I've learned a lot about myself just in terms of acting but just work ethic and interesting things like full-page monologues or talking straight into camera, which I had never gotten to do before.
As actors, we went where we wanted to, and the camera followed us: it was like having another person in the room. There was no formal structure to the process. It was very liberating.
'Old School' is so breezy it could be a late-night talk show, especially when Craig Kilborn, of 'The Late Late Show,' sidles into camera range as a particularly loathsome competitor to Mitch.
I don't really have a favorite camera. I use a Leica and Canon a lot. It depends, especially professionally, on the requirements. But my carry-around camera is a Leica.
My father filmed me all the time as a kid, and that's how I was first exposed to a camera.
I like being involved in the lighter side of journalism because it serves a purpose, and it's fun. And I can keep my opinions off camera if I want.
Unfortunately, I'm not one of those people who take pictures, you know, carry a camera. Because if I did I'd have stack's and stack's and stack's of different act's. I got a lot here - I know what I done.
A movie contains literally tens of thousands of ideas. They're in the form of every sentence; in the performance of each line; in the design of characters, sets, and backgrounds; in the locations of the camera; in the colors, the lighting, the pacing.
In Rio we built a Center of Operations, a situation room that gathers information from municipal departments and allows us to manage and help decision-making. I can check the weather, the traffic and the location of city's waste collection trucks. Each of 4,000 buses in the city has a camera connected to the situation room.
When I'm on an adventure, I live with a camera in my hand, and that's what I try to give to the readers inside the space that gives us every chapter of the story.
I come from Venezuela, from the independent film arena, and you work with one camera.
My truest passion is writing, so I continue to do that on my own while seeing what all the buzz is about being in front of the camera.
'McLeod's Daughters' was my first regular job out of drama school, and my first full-time role. That was great because I learned a lot, in terms of working in front of the camera.
I used to make short films even as a kid. I used to have a camera and play around with it. So, I was always interested in the process and telling stories. I've always wanted to direct.
If you're a photographer, they give you a camera. If you're a writer, they give you a typewriter. If you're an umpire, they give you an unseen object and they call it a strike zone, and nobody seems to agree with you no matter what you call.
I'm surprised how many commercials and sitcoms and movies have a need for, 'We just need something to come by the camera that's really weird.' They call Doug Jones.
The camera is an instrument that teaches people how to see without a camera.
One should really use the camera as though tomorrow you'd be stricken blind.
In Hong Kong, particularly, we craft this art for decades. The action choreographer actually is the action director. He takes over and he choreographs with - by himself or with his team, and place the camera where he feels cinematic effect to bring out that choreography.
I avoided the spotlight when I was a kid. I always knew, 'Hey, it wasn't me. I didn't do anything.' If there was a camera around, I hid from it.
Every street in London has a camera, and if you ever travel up the M4, it feels as if George Orwell should be your chauffeur.
The camera was kind to me. But I was never a screen personality like Gable or Flynn. The camera did something with their faces that was special.
When I got cast in 'Rocky IV,' I had never seen a film camera before. And here I was in this boxing movie.
I realized the exciting place was behind the camera with the producer, director and so on.
Really, voice-over is great. If it paid as much as on camera work, it's all I'd ever do.
If I'm traveling, I'll take a film camera and a digital camera because sometimes there are moments where, if you've lost it, or if coming back and it accidentally goes through the X-ray machine and it gets overexposed, you might have had a really important moment to you and you would be really upset that you didn't have a back-up.
I was on the yearbook staff, so I would take out film cameras and Nikons and take photos around school and at sporting events and things like that. We had a darkroom as well. I just loved it. I also saved up for a video camera to video my friends and cut and paste the videos together and I gave them to all of my friends for graduation.
I suffer from stage fright, so I blabber on stage and stop midway through my performances. I cannot even write a cheque, as it makes me nervous. Being around people makes me nervous. But I'm very comfortable in front of the camera, and this I realised many films later.
Where I think the most work needs to be done is behind the camera, not in front of it.
I'm not getting involved in sports anymore, except on film. I'm not agile unless a camera's going.
I had seen 'Lock, Stock and Two Smoking Barrels' and I thought that was a different kind of film than I'd seen before, with that kind of editing and slick camera movements.
When you're working in front of the camera, there are always things that occur to you after the director has said 'Cut.' I could probably, if I sat down and thought about it, come up with instances where I wished I had made this particular choice or that particular choice.
The digital camera is a great invention because it allows us to reminisce. Instantly.
I've learned survival secrets from being on camera, and then translated them into everyday life.
I didn't need the insurance. I do it again if my DP tells me it didn't look good in the camera or if the actors didn't hit their marks. But if everything was working why do it again?
I design my shots. I walk the rehearsal as the camera and say 'this is where I want to be... I want this look.
It's kind of dangerous to cut in the camera, but that's the only way I know how to direct.
I would love to work with Adam Sandler. Because then all I'd have to do is just turn the camera on and off.
I've ended up spending more time in front of a camera than on stage, but the stage is where I come from.
The day you see a camera come into our courtroom, it's going to roll over my dead body.
They had some really cool rigged cars and things that were different that they would tow behind the camera car that were actually on these trailers that manipulated side to side and stuff like they were getting hit, and actually put the actor right in the middle of the chase.
You get to the middle of a take that's going really well and the camera will run out of film. They have to stop you, apologize and then you've got to get things going all over again.
I've done scenes in films that I felt like the performance was better in certain takes, but they couldn't use them because it didn't match what the person was doing when they came around and the camera was on them.
Hugh Grant does a great job with his style. Somehow understated yet timeless and seems to get it. He does it on and off camera.
Just as Renaissance artists provided narratives for the era they lived in, so do I. I'm always looking beyond the surface. I've done that ever since I first picked up a camera.
I can often tell when drawings are done from photographs, because you can tell what they miss out, what the camera misses out: usually weight and volume - there's a flatness to them.
You can't name the inventor of the camera. The 19th-century invention was chemical: the fixative.
Everything seems really simple on paper until you take a camera out of the box.
War is the easiest photography in the business. Just get close, be lucky, know how your camera works. There are subjects everywhere. Everyplace you go, there is something to photograph in a war, like being in the middle of a hurricane or a train crash or an earthquake. You can't miss it.
Television is a prisoner of dialogue and steady-cam. People walk down a hall, and the camera follows them around a corner.
I was so besotted with '8½' that, when it was on TV, I used to take pictures with my 35-mm. camera of the frames of the film. That was the first time I'd ever really seen Italians on screen.
I used to fly around the stage without strings or camera tricks. That took seven years to create.
I've been in beautiful landscapes where one is tempted to whip out a camera and take a picture. I've learned to resist that.
Being an anchor is not just a matter of sitting in front of a camera and looking pretty.
I've just written this six-part sketch comedy series, which I've never done before. And I don't know how to pitch it. Am I supposed to just pick up a camera and put stuff on YouTube? Is that how it works?
A movie camera is like having someone you have a crush on watching you from afar - you pretend it's not there.
Nobody put the camera on the background singers who were singing. It was on Stevie Wonder. It was on Elton John. It was on whoever was the lead singer out front. We were 20 feet from stardom.
At the end of Requiem all I wanted to do was get a DV camera and just do a small film. But then the hunger comes back.
But for me, personally, I didn't have any ambitions to become an actor. I'm interested in getting behind the camera.
You've gotta understand camera angles, camera movement - a kick that may not be very powerful may look very powerful from a certain angle.
My preference is that, that day when someone sticks a tripod in front of you with a camera on the top, it is not day one.
After defining an idea of what I want to achieve, through a series of storyboard images, I'll go to the ends of the earth to create it, whether that involves obscure camera lenses or the latest electronic techniques.
When I was a kid, I would make kung fu movies with the kids in the neighborhood, and I would be the guy behind the camera directing everybody, but they were all very silly little shorts and comedy bits.
I grew up loving films and making stupid movies with a good friend of mine, who now actually has a career in a really prominent special effects house, so he's still doing it. We just started messing around with a camera.
I was probably about 10 years old when I said to Mom, 'I'd really like to pursue a career in front of the camera.'
I think the process is one of using the camera and sound in the way a detective uses a magnifying glass: to find the clues. They're discovery devices, not performance devices - you're watching things the way a cat does. You're not judging. You're there to witness something.
If you're filming somebody doing something they really want to do, you're probably not very high on their list of problems to deal with. You see James Carville on the phone - he's like that whether you have a camera or not. He isn't doing it just for you, and that's hard to explain.
The vocabulary of film is camera cuts, it's how they communicate. But games are different. We don't really need to do that. We do it because it's a language that we're familiar with.
'Olive Kitteridge' is the only thing that I've done on camera where we had a day of rehearsal before we shot, and I'm so glad that that happened, because I was so nervous.
I was so green, and my background was mostly in theater. The only thing I'd done in front of a camera, besides an infomercial and one commercial, was 'Brothers McMullen.'
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