Camera Quotes
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Being an actor in TV or movies is different. A film or TV actor, if put in theatre, won't know certain dimensions, while a theatre actor won't know certain things when he comes before the camera. So I think a film actor can learn emoting from this theatre counterpart, while the theatre actor can learn about camera techniques from the film actor.
I want to produce. I want to direct. I want to be my own camera man. I want my own boxing club. I have it all written down. I want to do everything.
Sometimes a camera comes out and people freeze up a little, and I'm like that with normal cameras, but with a film camera, I feel different.
I'm a model, and I happen to model for curvy things, but at the end of the day, I'm still in front of a camera just like anyone else.
I was never interested in becoming an actor. I was directing videos. I was never into acting. I was into shooting music videos. I've only ever been behind the camera. Never in front of it.
I had no education in filmmaking. I started with a 8mm camera. I made 34 films, and little by little I gained more experience in filming.
I've tried plenty of telephones. I tried to get into the Samsung Galaxy and the Blackberry, but the iPhone is just too easy to use. The camera takes clear pictures and the phone itself looks great. Like all Apple products, it kind of just makes sense.
We have parties at my house. My girlfriends and I play our iPods, with all of our favorite songs. We pick our songs and jump up on the counter and dance, and do runway stuff, and we take video with my camera. When I'm with my girlfriends, I act like I'm 19.
I do tend to like movies that challenge me professionally. That's mostly on a smaller scale, when you have one or two or five actors, and it's all about the acting and not the camera.
I wish I could be the black woman Soderbergh, and put the camera on my shoulder and shoot beautifully while I directed.
I want more girls to be able to see themselves behind the camera creating images we all enjoy, and I want to call attention to the fact that women directors are here all over the world.
I spent a whole 12 years helping other people tell their stories as a publicist, so just to be able to go and write and get behind the camera, that's my thing.
I choose things that challenge me. I was afraid of the camera - that's why I chose to do 'Private Practice.' It's not like I left the theater.
Glass is the world's worst spy camera. If you want to surreptitiously take photos, I would not use Glass.
The film camera's ability to physically move through space, not zoom through space - every time we have a video camera the movement is through zoom; every time we have a film camera it is a physical movement.
A lot of things in films are cheated with the use of camera tricks, so while it may feel unnatural to do, when you look at the result, you realise that it is right.
I grew up in the business since I was three years old so I've always kind of been in front of the camera and grew up in commercials and I knew that I wanted to do it no matter what, I just loved it.
But since I did my first film with Shammi Kapoor ji, he is my favourite. I was very shy to face the camera. In my first few shots with Shammi chacha, I was very nervous. He was very patient with me and guided me in every shot.
In the theater, while you recognized that you were looking at a house, it was a house in quotation marks. On screen, the quotation marks tend to be blotted out by the camera.
You know why I don't like that camera? Because it prevents me from seeing you!
After my grandmother passed away, I felt the urge to take my camera to her flat. I knew this flat from my childhood in Tel Aviv. Going to this flat was like going abroad; there was a real feeling of traveling across Tel Aviv and ending up in Berlin.
I'm happiest when in front of the camera, and I didn't know it until I got up there.
I'm bad in front of the camera. However, if someone gave me a small role in a film with two dialogues and one scene, I'd do it.
I love the digital camera because it makes shooting easier and economical. I shoot fast, and I can shoot a lot. I shoot rehearsal; I just keep on shooting nonstop.
I would call myself a radio performer who has just jumped in front of the camera and is very happy.
My first pictures are from 1972, and my first proper camera dates back to 1973. During the first year I used my father's camera. It had a flash on it, which I don't like, but I didn't know anything about photography back then, so it was just what I did.
My upbringing has always been quite equal in terms of cultural influences. But it's unlikely that anything could prepare you for a job that involves belting out Proclaimers songs on camera, in Edinburgh and in public.
I really love being onstage - that's kind of home base - but I love the camera, too. I love it all.
Bruce Willis. Pain in my ass, no problem about that. We just didn't get along. We got along off camera, but shooting we just didn't get along.
I'm always secretly the most pleased when a show just really, really looks good and when my camera guys are really happy with the images they got.
So I was hugely thrilled that my first scene ever on camera was with Hal Holbrook.
I tried to keep both arts alive, but the camera won. I found that while the camera does not express the soul, perhaps a photograph can!
A lot of directors in my experience are very receptive. They see what you do first, and then they want to find a place to put the camera, and they tweak you here and there.
Even with a stable character, you want something surprising to happen, hopefully because that's what the camera loves the most. That's what is great about film.
I love the luxury of the camera. The camera does so much for you. I like the secrets a camera can tell.
When you are younger, the camera is like a friend and you can go places and feel like you're with someone, like you have a companion.
The camera makes you forget you're there. It's not like you are hiding but you forget, you are just looking so much.
At my Rolling Stones' tour, the camera was a protection. I used it in a Zen way.
If I didn't have my camera to remind me constantly, I am here to do this, I would eventually have slipped away, I think. I would have forgotten my reason to exist.
It's a heavy weight, the camera. Now we have modern and lightweight, small plastic cameras, but in the '70s they were heavy metal.
My very first scene on camera for anything was with Sarah Jessica Parker in the 'Sex and the City' movie, and she couldn't have been more lovely and beautiful and kind, and on top of that, she's just a killer actress.
There are times when you're working with film people when you have to say, 'If the camera were on you, what you're doing would be perfect'.
When I was teaching at Harvard in the 1970s, I went to Project Incorporated in Cambridge and took photography classes. I didn't even know how to aim the camera in those days.
I've picked a camera up a few times. I remember buying my first camera when I was about 18 and really going wild with it, as you do as an 18-year-old, especially when you're in college.
While all the other kids were out playing ball and stuff, I used to stay in my room and imagine that there was a camera in the wall. And I used to really believe that I was putting on a television show and that it was going out to somewhere in the world.
I always knew I wanted to be in front of the camera. But even after 10 years behind the scenes at CBS News producing live segments, celebrity profiles, and breaking news, I still hadn't been given the chance to be on TV.
Sheridan is still there, he's the president of the Alliance, everything that was in place when the series is there is still there, we're just moving the camera over a couple of light years.
When I was little, I would always try and look into the television screen along the sides. I kept thinking if you looked in there, you could see what was happening off camera.
I am a little bit of an egomaniac. I like being in front of the camera, so I take advantage of it when I can.
I was never that comfortable in front of the camera, it always terrified me.
I don't want to do anything that puts my team members, my camera people or producers, in danger, so it's an ongoing dialogue on all the stories that we do.
There was a time when I first started when I made a fake press pass and borrowed a camera and headed into wars, and for three years, that was the only kind of story I was interested in doing.
I'm comfortable in front of a camera, and I'm used to being watched, although that kind of bugged me at first. On the stage, though, I'm scared. I really get frightened in front of people.
I can very much look into the camera and say, 'I believe Donald Trump is a racist.' You don't get to make textbook racist remarks for a year and not be a racist. You don't get to make textbook sexist remarks for a year and not be a misogynist.
I moved to L.A. to write and direct. I had no intentions of being in front of the camera.
What's cool is that Oprah is the same person on stage and in front of a camera as she is off stage and behind the scenes. She speaks the same way on camera as she does off camera.
After you play husband and wife on camera multiple times, it becomes easy to be husband and wife off camera as well.
I'm not someone who had to worry about aging on camera. I was already aged when I got there.
While I began writing 'Rules of Civility' in 2006, the genesis of the book dates back to the early 1990s, when I happened upon a copy of 'Many Are Called,' the collection of portraits that Walker Evans took on the New York City subways in the late 1930s with a hidden camera.
My mom was a photographer and whenever they needed a baby for a modelling job, she'd stick me in front of the camera. That's how it started.
I am interested in people. I'm interested in telling stories, whether that is behind the camera or in front of the camera.
As a photographer, there are times when I have to decide if it's appropriate to invade a moment with my camera.
I grew up in front of the camera from an early age. It distorts your perception of who you are. Having a lot of attention at a young age is not healthy.
My college degree was in theater. But the real reason, if I have any success in that milieu, so to speak, is because I spent a lot of years directing, I spent a lot of years behind the camera.
Among other things, I use a Samsung mobile phone, a very bad quality video camera, and an old Olympus with extremely bad Sigma lenses.
Warhol was the ultimate voyeur, constantly observing people through the lens. He watched and listened, but did not participate. Behind the camera, Warhol was in control.
People obsess about casting and representation, but really, all the real work is behind the camera. Casting an Asian American into a bad role where they're shoehorned into these stereotypes is worse than not having cast them at all.
I've worked with actors who treat the first two takes like rehearsals. And that's okay. If the camera is on you and we're doing a scene where I'm off camera, I'm treating that as a rehearsal.
I don't like to work with assistants. I'm already one too many; the camera alone would be enough.
I always thought that I would work behind the camera, because it's a more comfortable place for me to be, really.
I don't use the front-facing camera because the quality of selfies isn't as good.
I don't have camera crews. I don't have sound guys. What you see is what you get: just me and my camcorder.
I used to be a kid with a camera, and that used to be kind of endearing to people. Now I'm sort of an old lady with a camera.
I really love sort of classical cinema where people were telling stories with very little dialogue, and people were using the camera in a really interesting way.
I'm never comfortable being in front of the camera, but I've learned how to deal with it.
The State of the Union is less written than it is designed, structured and organized around applause prompts and camera cues.
In Goodfellas they have this one scene where the camera goes down some steps and walks through a kitchen into a restaurant and the critics were all over this as evidence of the genius of Scorsese and Scorsese is a genius.
As an actor, if you're just sitting and staring and you don't know who you are in your own mind, it's vacant. And sometimes the camera is an X-ray machine, it can pick it up.
We're not going the photography route. I think there is a real distinction between photos and images, and Flickr is for photos, and Instagram is for photos. You wouldn't put a filter on a meme; you'd put a filter on top of a photo that came from your camera.
My two boys were the same ages as the kids in the show. In real life or in between the breaks I was raising two kids off camera who were not unlike the two kids who were being paid to be my kids.
I don't like improvising on camera, particularly, but very often, a scene will not be working, and you rehearse it once or twice, and you realize something's missing. So I'll play with it until it makes sense.
Latinos are the fastest growing minority, and we're obviously not going anywhere. We're extremely loyal as a people, and I think Hollywood is starting to recognize that. It's very rare for a major studio to nationally distribute a film with Latino talent, not only in front of the camera, but also behind the camera.
I feel very confident and empowered before the camera, after working with Arjun Rampal.
The camera is interested in what you are thinking as opposed to just what you are doing or saying.
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