Camera Quotes
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Throughout my football career, I've always been somebody who's been very aware, and I know when the camera is on me, and I know how to be polished. I can see how that might come off as disingenuous.
I couldn't comprehend why someone would film themselves alone in their bedroom and put it online. I thought that was so bizarre. Now I can't imagine not putting my life online and talking to a camera alone in my bedroom; it's become my life.
Comic timing... is how to have a relationship with the camera and deal with the camera without looking like you are.
Maybe it was escapism, but I had become obsessed with going to remote locations and keeping myself behind the camera.
When I'm doing TV, I miss theatre, and when I'm doing theatre, I miss being in front of the camera.
Being out there in a high-pressure situation with a live audience and a live TV camera on you, it brings something out.
I want to prove that actors are good, not just at working in front of the camera.
I have been trying to retire to the back of the camera for quite a few years, and in 1970, when I first started directing, I said, 'If I could pull this off, I can some day move to the back of the camera and stay there.'
When you work with kids, especially, you want to be ready to turn the camera on at a moment's notice.
I've always said the one advantage an actor has of converting to a director is that he's been in front of the camera. He doesn't have to get in front of the camera again, subliminally or otherwise.
The camera is not your eye, and it's not the eye of the audience. I don't think it's my eye, either. It belongs to the film.
When you're modeling you're actually acting for the camera and the photographer. It's more fun, too because there are no lines to memorize.
I don't like to watch playback. But being on the set, watching the way the camera is being moved and the way the light is being used, you do get an idea of it.
Many times I've sat with a camera and another actor and seen all their fears and insecurities and struggles. You want to support them and help them as much as you can.
I rarely joke unless I'm in front of a camera. It's not what I am in real life. It's what I do for a living.
I am a camera with its shutter open, quite passive, recording, not thinking.
When I was little, I had this old video camera, and I set it up, and I would pretend that I was on comedy shows and soap operas and things like that.
I think that I need to work on being comfortable at being normal, everyday-ish on camera. Unlike a lot of actors, I think that's the thing that I'm not so comfortable with.
I think that I need to work on being comfortable at being normal, everyday-ish on camera.
In my head, scenes are shot from certain angles; there are camera pans, all of that kind of stuff. Converting those visuals to comic format was mostly a matter of adapting them to the rhythm of paneling.
The difference between a regular camera and a 3D camera, for an actor, is really no different except that the turn-arounds are longer. It takes a lot longer to set up a shot because the cinematographer is really trying to set up a whole world, so it can't be more intricate and more beautiful to the viewers, in 3D.
It's good to have butterflies. And they always go away. The camera starts rolling and they go away and it's all good.
We build camera rigs tailored specifically to the story we're trying to tell or the shot we're trying to capture.
When the protagonist breaks the fourth wall by looking at the camera in a movie, it's generally been used for comedic purposes, rather than feeling like they're looking into your soul.
I ended up getting to do a lot of student films - no budget: somebody just wrangled up a camera and went to shoot stuff - and it was fun. It was great.
I want to be a Kid Reporter because I would like to meet interesting people, and I also love being in front of the camera! As a Kid Reporter, I would love to learn how to be a better writer and interview people.
'Days of Our Lives' was an insane schedule. You're doing a whole one-hour show in a day. You do a very cursory run-through with the director telling you where you're going to be standing, then you do a quick rehearsal on camera and you shoot it.
Laptops are important, but before you spend a million dollars per school providing one laptop per child... won't you please spend $5,000 per school equipping every classroom with a document camera?
I'm trying to learn things behind the camera and what a producer does and shadowing the directors.
With dancing, you have to know spatial movement with somebody. It is steps. It's literally steps and knowing how close to be or how far away. You have to have the beat in the right place with the camera.
For me, being a complete artist means not necessarily just being in front of the camera, but being behind the camera or being the originator or creator of something.
We as comics do want an immediate response from the audience. It's really quiet on the set, and there are only the producers, and the director, so a comic is looking for someone to give a reaction, even if it is the camera guy.
It took me a long time to get comfortable with the idea of being photographed by a moving or still camera.
When you're even on a regular movie set, you still have to suspend your disbelief. You're working there with only 3 walls of a room, and you're in costume, and you have a camera 6 inches from you and have a crew of 75 watching you. So even there, you have to crank up your imagination.
I think I'm like that nerdy dad from middle school who always has a video camera, but in the same respect, I only take it out during interesting occasions.
I'm clearly not meant to be in front of the camera. I'm really not meant for anything but behind the camera.
I had gone to nursing school at Northampton Community College in my hometown of Bethlehem, Pennsylvania. And nursing didn't feel quite right, and an old boyfriend gave me a 35-millimeter camera just to play with. So, I took a darkroom class.
The thing about the four-camera shows is that it's kind of a great combo of theater and film. You have an audience, but you have a camera to capture things, so that's a great thing, too.
I've always been more of a camera hog than anything, and it's just another way to get it all out!
The possibility of being as free with the camera as we are with the pen is a fantastic prospect for the creative life of the 21st century.
The thrill of acting is making a character real. Modeling is the opposite of real. It's being fake in front of the camera.
In the editing room, 20 percent of the time you're using stuff from before the actor knew the camera was rolling or you're taking a line from somewhere else and putting it in his mouth.
The best gift I've ever gotten... My grandpa gave me a Polaroid camera when I was younger. It was awesome!
The rise of the Internet and the camera phone have started to change what stories are accessible.
It's not terrifying to watch 'Mindhunter,' necessarily, but it's just unsettling. You can find Aileen Wuornos just talking to a camera. It's hard to watch. Her eyeballs, they are just terrifying.
In silent movies, they tended to put the camera down, and everybody walked in front of it and acted, and then they all walked off. Cutting was quite infrequent.
In Hitchcock's eyes the movement was dramatic, not the acting. When he wanted the audience to be moved, he moved the camera. He was a subtle human being, and he was also the best director I have ever worked with.
I really enjoy being behind the camera. A ton of projects I've done that are my most favorite projects would be where I actually executive produce and I'm behind the camera.
There will be a time very shortly that I just might not be in front of the camera at all, and I might just be behind the scenes. I love doing television, though. I don't necessarily love being in front of the camera.
I think at some point I am going to throw in the belt and decide to stick behind the camera.
Practicing going over scenes and in front of the camera just to see how that feels, and then ultimately just finding a way to expose yourself to people. That's what I did.
I did this class when I first moved to California. It was a 'Kids on Camera' class up in the Bay Area. That was good for just getting me excited in acting and everything. Then once I started working down L.A., I just stuck to my acting coach, and she helps me prepare with auditions and that sort of thing.
I think from an early age I was aware of how a camera can tell a story, how a movie camera can affect how the narrative is told.
I typically shoot underwater with my regular camera in an underwater housing, and then I usually have two big strobes that I use to light. But with whales, you're not going to be able to really light a 45-foot subject. Your strobes are only effective for maybe five or six feet underwater.
I got a Super 8 camera when I was eight years old, and I just wanted to tell stories - I love telling stories.
I guess my break in America came a little too early. It would've been nice to have a few more years to find out what I'm like as an actor without a camera on my face.
I had a lot of energy when I was eleven and always liked being in front of a camera.
I was molded, spent my time underneath a lot of goo. And then the bits and pieces were sculpted. It took probably 10 days to create each character after all those camera tests.
If it's stage, the two most important artists are the actor and the playwright. If it's film, THE most important person is the director. The director says where the camera goes.
I choose not to be in front of the camera. Sometimes I do get offered parts, but I really like just making movies and telling stories.
First, the newcomers are eager to come in front of the camera, and later they are like, 'No, sorry, sorry, no pictures'. What is this? I say fame is a very dangerous and bitter thing.
When you go live, anything can happen. It excites me because it means I have to be on. When the camera's on, whatever happens happens.
I want to try to talk like normal people talk, not just stand there and bark at the camera.
When you think about it, media's the intersection of content and technology - it's all about storytelling, like photography and the camera.
I was so used to documentary filming, where it's one take. You can't really say, 'Make that elephant charge again!' And you talk to the camera. With movie filming, you're talking to someone else.
You can always tell in a movie when they are setting you up for something. If someone leaves an important object on the table and walks away, the camera will have some way of indicating that to you.
This thing called the camera, that takes everything in equally, taught me a lot about how to see.
I think I got an Instamatic camera when I was 8 years old, and ever since then, I've liked to record things. I don't know why. Maybe it's just to kind of try to leave some kind of record behind.
Any time you're in front of a camera and have them yell 'Cut, re-shoot the scene,' are you kidding me? That's a huge advantage.
If I haven't rested, or I haven't slept or had food or done the normal basic things as a human being, how could I stand in front of a camera and do stuff, you know what I mean? It's mad!
I accept all interpretations of my films. The only reality is before the camera. Each film I make is kind of a return to poetry for me, or at least an attempt to create a poem.
Some time ago, we went to Asia and took a camera along, and I began to do what I'd done even years ago doing people. I couldn't get interested in it. And I did hundreds of photographs of details of the monuments as sculpture.
President Obama is a gifted politician. He is gifted with rhetoric virtuosity. He is gifted with the ability to lie directly to camera without blinking. And he is gifted with some of the most incompetent conservative opposition in the history of the country.
The camera does not like acting. The camera is only interested in filming behaviour. So you damn well learn your lines until you know them inside out, while standing on your head!
I'm very in love with the fact that the camera is revolted by acting and loves behaviour.
We've turned film into such an industry that we pursue naturalism just by shaking the camera and cutting the film to ribbons to provoke a bogus sense of documentary. But we haven't done the homework. To push the depth that the Actor's Studio did or the Russian theatres did with their actors is to rehearse, to spend time, to dig, to excavate.
I do like being in front of the camera more and more. Having experience behind it has taught me about lighting and angles, how to move, and what looks good and what doesn't.
After 2000 or so, I started to realize I wanted to be doing something else. I didn't want to be in front of a camera. I was frustrated. I didn't think I would stop acting, but I didn't want to be seen.
I've fallen down crevasses, been bitten by snakes, been knocked unconscious, had various limbs broken and once, a heavy camera came plunging down which very nearly decapitated me.
I got five kids, and my oldest is a documentary film maker and camera man, and still photographer.
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