Quotes About Camera

The camera has a mind of its own--its own point of view. Then the human bearer of time stumbles into the camera's gaze--the camera's domain of pristine space hitherto untraversed is now contaminated by human temporality. Intrusion occurs, but the camera remains transfixed by its object. It doesn't care. The camera has no human fears.

I have received the digital camera as a blessing. It has really changed my life as a filmmaker, because I don't use my camera anymore as a camera. I don't feel it as a camera. I feel it as a friend, as something that doesn't make an impression on people, that doesn't make them feel uncomfortable, and that is completely forgotten in my way of approaching life and people and film.

The actors feel very free. The actor, he doesn't need to think about where the camera is, he just has to focus on what he's doing and forget the camera. The camera is never in the perfect position, and I think this is what keeps this feeling of reality. The frame is not perfect.

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

It was extremely useful to grow up in front of the camera. It gives the camera no significance. I think it helped me have perspective on things. The attraction that Hollywood can have, I feel like I'm over that. Instead I just concentrate on acting.

When I was younger, I was reticent to be vulnerable on camera and everything I was doing was just a really finely honed defense mechanism from when I was a kid, and I was now using this to make a living on camera.

The camera for an artist is just another tool. It is no more mechanical than a violin if you analyze it. Beyond the rudiments, it is up to the artist to create art, not the camera.

The camera relieves us of the burden of memory. It surveys us like God, and it surveys for us. Yet no other god has been so cynical, for the camera records in order to forget.

I was given a small camera as a wedding gift from a very dear friend. My first pictures were taken on my honeymoon. As soon as I became familiar with the camera, I was intrigued with the possibilities of expression it offered. It was like a discovery for me.

The fact that I have a little ten-megapixel camera with me all the time, is way better than having the greatest camera in the world sitting at home on a desk instead of on my shoulder.

Sometimes people don't rehearse at all, but you might have had a chance to rehearse for a few days, or even more than that. Then in the moment when the camera's running is the only time it matters. So whatever you've discussed or thought about or discussed with the director, the other actors, hopefully there's a part of the experience that you've left open so that only in that moment the camera catches it. That's of course the hardest thing to do because everything is planned and you have thought about it in advance.

I built my own studio. I don't have the professional language to describe it because I'm not a videographer - but I'm a technician. So I get the camera, I get all the things that translate the camera to the computer, I set up a live session, I do the security on it, I set up a background so I can key it out, like newscasters do, and replace it with whatever I want - and I can be anywhere I need to be.

[The small camera] taught me energy and decisiveness and immediacy ... The large camera taught me reverence, patience, and meditation.

I've been working in Hollywood for a long time now in many different aspects in front of the camera, behind the camera, and I've worked with top executives, presidents of networks. I've worked all around. I see energy and what's around these studios and a lot of these offices. You don't get the high positions in these companies if you don't take advantage of other people in some way. I've seen that around. I've seen that around the studios, whether it's producers or whoever. Egos are there. Greed.

Anyone who looks for life can find it... and they don't need to photograph ashcans. The average camera fan reminds me of Pollyanna, with a lollypop in one hand and a camera in the other. You can't be a Nice Nelly and take news pictures.

We were using a hand-held camera to film the scene when Morse collapses. The camera wouldn't start. Three times they said action and it still wouldn't work. To this day, they still don't know what was wrong.

I started working in front of the camera for the first time when I was 15 years old. I joined a soap opera. We filmed in Brooklyn and I would skip class to shoot my scenes. It was terrifying and I entirely self-conscious in front of the camera.

I smuggled the camera, it was no problem to smuggle the camera there. And I took 60 photos, two films, during the time when there was no one in the control room, in the building.

There are photographic fanatics, just as there are religious fanatics. They buy a so-called candid camera there is no such thing: it’s the photographer who has to be candid, not the camera.

I think about it all the time. I love filmmaking. Whether I'd be in front of the camera or behind the camera, I just love that world.

I love the camera; there's something very special and sensual about it, and I have a tendency to call it a he, like it was a man. But, unlike a man, a camera is accepting of everything I do.

I am very proud of my husband, both behind the camera and in front of the camera.

[on making the transition from the comedy "Mary Tyler Moore" (1970) to its dramatic spin-off series "Lou Grant" (1977)] We were really worried about changing over from a three-camera, half-hour comedy to a one-camera, full-hour drama. The audience wasn't ready for the switch - even CBS billed us in their promos as a comedy. In fact, the whole thing was impossible. But we didn't know that.

After you play husband and wife on camera multiple times, it becomes easy to be husband and wife off camera as well.

I was open to anything. That doesn't mean I would do anything, it just means I was open to anything. I've met for dramas, single camera comedy, multi-camera comedy. I take each script as an individual project.

When you start using more expensive cameras, everything around it gets more expensive, which is something we hadn't necessarily taken into account beforehand. Your lighting package gets way more expensive, and then coloring it is going to be more expensive. So I think all of that will essentially be cushioning our camera package. Budgets beget budgets, and expenses beget expenses.

As a director, you want to be really connected to every part of your set, from your actors all the way to your camera operators. Everybody is a part of the creative process, and if they feel like they're part of a team versus just being a tool, they're going to give you something special.

Memory is a tenuous thing, like a rainbow's end or a camera with a failing lens.

When someone's acting for a scene, they can fool the camera. But in everyday life, unless you're watching and censoring yourself every minute, or spending all your time in the company of ladies, what you feel is bound to show in your eyes.

I know the pleasure you get from making your films. The intense involvement in every aspect: the acting, the camera, the colors, the costumes, even the hair and makeup. Editing is thrilling. Everything to do with films is absorbing - everything but the money part, the business. But I'm deeply glad I've had that experience.

I've been a soldier, I've been a bunch of little girls, all sorts of roles that I would not have been able to be with on camera context because I just don't look the part.

If a photographer cares about the people before the lens and is compassionate, much is given. It is the photographer, not the camera, that is the instrument.

I've always been intimidated by the technicalities of taking photos, especially with a film camera - not just a point and shoot.

In "Virginia Woolf" I had a thing which the grips called the paraplegic which was a wheelchair thing that I had made up years before where I could stand on this bicycle-like device and be pushed down the hall, and then step off it with a handheld camera.

There is no one who can stop you; you find a mic, a crowd, a set of ears, and nowadays, a camera and YouTube, and you recite your poem. You have your say. I don't want to over-romanticize it: of course, any time an art form ascends, especially when competition is involved, there will be gatekeeping, chauvinism, and other unfortunate dynamics. But the beauty of spoken word and performance poetry is, by and large, its ability to reach people in the moment - right there, right then.

Animators do amazing working translating and interpolating the characters [in the Planet of the apes], the facial performances. What we're creating on set - if you don't get it on the day, in the moment, on set, in front of the camera, with the director and the actors. The emotional content of the scene and the acting choices.

I know a lot of people who are very good at their craft who have learned - people behind the camera - who really have a lot to offer because they know what they're doing, they know what to do, they've made their mistakes.

I never had a “project.” I would go out and shoot, follow my eyes... I tried to capture with my camera, for others to see.

A good writer writes with a camera, not a pen.

Good acting is thinking in front of the camera. I just do that and apply a sense of humor to it. You have to trust the audience to get it.

My aim in photography is always to convey a mood and not to impart local information. This is not an easy matter, for the camera if left to its own devices will simply impart local information to the exclusiveness of everything else.

I know how to tell a story to a thousand people. Sometimes I don't know how to tell a story to a piece of tape on a wall and a camera.

The camera itself, the photograph itself, calls up death.

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

It's very disconcerting to have a camera shoved in your face. It's really discombobulating. If you're the least bit nervous you forget what you just said, you can't find your way through, you can't follow the logic of your own statements sometimes. It's a weird sensation. And I think that really helps to lock people in place.

My number one rule is to keep that camera rolling. Even if it's shaky or slightly out of focus, I don't give a rip. Even if a big old alligator is chewing me up I want to go down and go, 'Crikey!' just before I die. That would be the ultimate for me.

I just [take pictures] because the camera is something to carry around in my pocket.

A camera can get you close without the burden of commitment. It's a nifty device that way, a magical passport into people's lives with no permanent strings attached.