Quotes About Camera

Look, I really do not care about you. What I care about is the worlds that you bear witness to. You are nothing more than a dog with a video camera strapped on its back. As you walk the streets looking for a place to mate or piss or eat, the camera is on and we will see the world because of you... You carry the camera and we enjoy the world. (On images as autobiography)

Zooming in, zooming out. I was shocked. I said, "Let's erase this right now, put the camera behind the stage and I'll do the performance just for the camera." He set up everything and I told him to go outside and smoke a cigarette. Come back when I finish. Don't touch the camera. This was the way how I've done most everything after that.

Baby she look like a star, but only on camera, only on camera, only on camera.

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.

No one was jumping up and saying, 'Yeah, let me give you money.' I had never held a camera in my hand - a home video camera, nothing. I had not directed.

Of course, you do not do any research: you have to go there and do your film. It's not that I would travel there before without a camera and spend half a year on one of those volcanoes and then come back with a camera. You have to have some sort of a clear mindset.

This is going to sound crazy, especially in America where there is a total inflation of the word "love," but in a sense you have to love the people in front of the camera. There has to be trust between the one who is behind the camera and the people on the other side, so that they can relax. They have to feel they are safe, and that way they don't have to pretend just because they are scared.

I do believe that a film like Ten could never have been made with a 35mm camera. The first part of the film lasts 17 minutes, and by the end of that part, the kid has totally forgotten the camera.

With the fight scenes, they would take a video camera and shoot alongside the camera so we would piece it together on the computer and had an extremely rough cut of what we were doing.

When I first asked to take pictures of women at their homes, I was using my formal camera and I struggled to get the shots because I was still very much in the role of the photographer. Then the next time I had this little digital camera and their response to me would be completely different - I was a friend and I got new kinds of pictures. I was always treading a line between photographer and friend.

Every photograph is a realization of one of the possibilities contained within the program of the camera. The number of such possibilities is large, but it is nevertheless finite. It is the sum of all those photographs that can be taken by a camera.

I'd been trying to retire to the back of the camera for quite a few years. And then, in 1970, when I first started directing, I if I could pull this off, I can some day just move in back of the camera and stay there.

The only thing which completely was an amazement to me and brought me to photography was the work of Munkacsi. When I saw the photograph of Munkacsi of the black kids running in a wave, I couldn't believe such a thing could be caught with the camera. I said, 'Damn it', I took my camera and went out into the street.

At some level, you've got to have the ability to - especially in film and in front of the camera, you got to have the ability to drop into character and close off the entire crew and the camera and everything else.

When I walk with a camera, I walk from shot to shot, reading the light on a calibrated meter. When I walk without a camera, my own shutter opens, and the moment's light prints on my own silver gut. When I see this second way I am above all an unscrupulous observer.

I want my fellow citizens to wise up and stop falling for [war]. I try with my limited access, I'm not getting into Kabul with a camera, they're not letting me get into Benghazi with a camera. I do what I can with my flimsy American passport and a visa. The photos are a bit more heavy from Southern Sudan and Haiti and Cuba.

Ever since the invention of the camera, people have been trying to create 3D, because we see things in 3D, and everyone's aware that the camera doesn't.

Never ever say the word shoot when you are taking a picture with a camera because a camera is not a violent weapon.

I've always had two principles throughout all my life in motion-pictures: never do before the camera what you would not do at home and never do at home what you would not do before the camera.

When I was younger, I did things with a camera I would not do by myself. I remember going down to the docks in San Francisco and asking a fisherman if he would take me out on his boat. I would never do that without a camera.

I know every actor says this, but the people behind the camera are great. They always have answers.

You can start a documentary with just a camera, as opposed to a fiction film where you need actors, a crew, a script, a lot more start-up resources. It may be self-perpetuating.

I'm sure I cause just as much consternation for editors as any other actor, it definitely makes me feel more comfortable understanding how and why all the different camera setups exist.

I like to know where the camera is.

Before each new setup, I chase everyone off the set in order to be alone and look through the camera. In that moment, the film seems quite easy. But then the others come in and everything becomes difficult.

I'd come up with one leg in theater, but never my first leg. I loved the camera too much.

Sometimes you just create a joke out of thin air in the editing room. I'm really glad I've had that experience. It gives me a little more confidence in front of the camera.

That was an interesting thing I learned I think the first time I did a late night show or something. It was like, "Oh, this is for the camera and a performance that you're giving to the people at home."

I love the work, I love being in front of the camera and working with actors and directors and creating something. For me, it's like learning everyday.

I don't trust any camera you can't make out of wood.

There are many reasons why photography does not attract the social and cultural attention it deserves. I would add one more which has received scant attention: it does not make a lot of noise. ... Perhaps photography would be more appreciated if camera shutters fired with the sound of a .357 Magnum.

If life were a camera, I'd have the lens cap on.

I saw a video on YouTube of a girl who had very similar reactions to late-stage Lyme disease as I did. And I thought it was crazy. And when I saw her basically have a seizure on camera that looked very much like my seizure I felt, "Oh my god. That's me." And so it was really important to me, and I said to Sini, 'We have to find some way to not just talk about Lyme disease, but to show it.

The more we can put the camera in a better place, the more we can take the audience on a more extreme journey with that character.

Everyone started to have a camera. That's when I started to travel outside of New York and go into nature.

I was really awful at auditions. There's something about sitting down and saying into the camera: "I'm Nina and this is the name of my agent." That makes me just die inside.

Michael Moore and I actually have a lot in common. We both appreciate living in a country where there's free expression. But Michael, if you ever show up at my front door with a camera, I'll kill you. I mean it.

Actually, the camera was never overhead at any time. It was always a side view of me. Subsequently, after the picture was released, I saw some scenes from above and my clothes being pulled-and I think that was added later.

The way I photograph... in many ways it's directed by chance and all my mistakes, which are often the best stuff. I found that no matter if it's the same tape, the same TV, and the same camera, I can never duplicate an image... your arm jiggles, there's just too much chance. And I never put it on pause, or use any of that fancy equipment.

I grew up as a photo nut. Every Christmas I would get a new camera. It's a huge part of my life.

(1) The more thoroughly a photographer explores his subject with the camera (i.e., the more pictures he makes), the more he sees and the better his chance of getting good results. (2) Even slight changes in subject approach can make significant differences in the effect of the picture.

I saw a man walk into my camera viewfinder from the left. He took a pistol out of his holster and raised it. I had no idea he would shoot. It was common to hold a pistol to the head of prisoners during questioning. So I prepared to make that picture - the threat, the interrogation. But it didn't happen. The man just pulled a pistol out of his holster, raised it to the VC's head and shot him in the temple. I made a picture at the same time. (On his 1968 photograph of the summary street corner execution of prisoner Nguyen Van Lem by South Vietnam's police chief, Lt. Col. Nguyen Ngoc Loan.)

I had started off, before I ever got an acting job, working at Robert De Niro's Tribeca Productions as a reader. I was always interested in that side of the camera.

Being movie director you've got the art department, you've got the actors, you've got the camera department, you've got make-up and hair, and props. You've got your finger in all these pies, and you're making sure that everything cooks at the right temperature.

It's whether they have a vision and whether they're able to communicate it. The best director is just someone who gets over-excited about doing it - they don't even have to know much about camera or acting.

A deeper truth the camera can see can be more surprising than even the director imagined it could be. That's a wonderful thing that grows and happens in films.

Sometimes you're watching a great film actor, and if you stand 10 feet away from them, you're like, "God, they're terrible. They're not doing anything." And then you see the close-up and it's so nuanced and so much expression is happening. They were acting for that camera and for no one else.

All I need is a camera and I'll make things happen