Quotes About Camera

It's a hard job to get the camera to see it like you see it. Sometimes you have it just the way you want it, and then you look in the camera and you don't have the balance. The main thing is to get the camera to see it the way you see it.

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.

It is said that the camera cannot lie, but rarely do we allow it to do anything else, since the camera sees what you point it at: the camera sees what you want it to see.

Everywhere we walked we got plenty of attention due to the camera and sound men. The locals love to get on camera. [...] I'd seen footage of Gandhi surrounded like this and always thought it was because he was very popular, but now I wonder if it was just because he had a camera crew with him.

I hate cameras. I hate cameras and I hate camera phones. The camera's my worst enemy and my best friend. It's the way I convey my emotions to the world without saying a word, so I use it. People always say, 'You come alive as soon as the camera's on!'

Of course, you can never watch something like somebody else watches something like you, but nonetheless, you have to try. So I think on camera you learn a lot about how much the camera does for you, which is what is the great luxury of movie acting. Or acting whether it's TV or movies or whatever it is, that the camera's really such a gift because there's so much that it sees and does if you're willing to just be open and expose yourself and all of that. So you also learn what doesn't matter. And sometimes when you think about things, you think things matter that don't matter.

Depending on the budget [whether to use 3D on future movies]. I think I prefer 3D to 2D now. Also, because of 3D I have to use a digital camera, which is the way it's going anyway. That still confuses me, a digital camera versus film.

The camera follows a young woman as she makes her way through the stands to an area set aside for repentance and conversion. But Jesus' stories imply that far more may be going on out there: beyond that stadium scene, in a place concealed from all camera lenses, a great party has erupted, a gigantic celebration in the unseen world.

The true authenticity of photographs for me is that they usually manipulate and lie about what is in front of the camera, but never lie about the intentions behind the camera.

When I got the camera on the shoulder, they give me a nickname. They call me 'the tripod' because I'm kind of short and kind of strong. So if I take the camera and I lock myself, you think that you're on a crane.

As a young person, and I know it’s hard to believe that I was shy, but you could take your camera, and it would take you to places: it was like having a friend, like having someone to go out with and look at the world. I would do things with a camera I wouldn’t do normally if I was just by myself.

I was always in front of the camera. My mom was really passionate about photography - I have pictures of my whole life. I've always just been in front of my mom's camera and it's always comfortable to me.

I found it liberating to sing on camera. On stage, you have to indicate having a thought, and the word you are singing must indicate it as well, but on camera, you can have ideas, you can take in all the stimuli that the character would be taking in, there's a freedom you get, and you don't have the obligation to transmit each idea to the back of the house. It felt so much closer to reality for me.

When I first started, I would go to Weist-Barron, and I studied with Rita Litton and ACTeen. For teenagers, it's a really, really great school. We did a lot of on-camera stuff, so you see yourself and what you do on camera.

I can remember the moment when I suddenly felt that the camera was a living partner. I suddenly felt this is art, and the camera is a co-operative living person. After that I was extremely happy to act in films.

I feel like God has moved me into a different way of doing things. I teach basic on-camera acting class called Acting 101...In my classroom, the students get every ounce of encouragement and craft and anything I'm able to give them.We have some rules. We don't take the name of The Lord in vain. We don't use foul language when we mess up on camera...There's a climate of safety...They feel very protected.

And as an actor, just working with someone as seasoned and professional and kind as Richard Jenkins, it's always a learning experience watching him - on camera and off camera, just soaking it all up.

Two types of films: those that employ the resources of the theater (actors, direction, etc...) and use the camera in order to reproduce; those that employ the resources of cinematography and use the camera to create

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.

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.

There's always been a shortage of roles for three-dimensional women, no matter what age. If you look at the statistics on women in film, be they behind the camera or in front of the camera, and it's pretty nauseous-making. It always has been.

I don't like to be in front of the camera - my place is behind the camera.

I think I've spent more time in front of a camera than off camera. That's just the way it is.

Sexuality, eroticism and desire are important for all of us. But that is also the contradiction. How can we speak about pictures and, for example, say no to this way of representing a woman's body? It's also a camera-and-object problem, of who is really guiding the camera.

Your camera is the best critic there is. Critics never see as much as the camera does. It is more perceptive than the human eye.

When you're acting in front of a camera, you can really give all of your emotions with your eyes so the camera can see it. When you're in voiceover, you can't do that at all. It's a lot tougher because you have to convey this emotion, and you have to have a lot of trust in the animators.

Both those taking snaps and documentary photographers... have not understood information. What they produce are camera memories, not information, and the better they do it, the more they prove the victory of the camera over the human being.

This is the funny thing about Skype. No one is really looking into the camera. People always looking down because they're looking at the image. You wish the camera was there in the center.

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

On the brilliance of James Brown's dancing − and the frustrations of bad camera-work on dancers:cers: I think James Brown is a genius you know when he's with the Famous Flames, unbelievable. I used to watch him on television and I used to get angry at the camera-man because whenever he would really start to dance they would be on a close-up so I couldn't see his feet. I'd shout "Show him! Show him!", so I could watch and learn.

The camera’s not a camera, really. It’s an open door we need to walk through. It’s up to us to keep moving our feet.

My acting stopped being about disguise and became about truth which suits the camera, so my film career took off when I came out.

In animation, there's silly things I get to do with my voice. I get to have a wider range, so my voice gets to dance more than it does on camera.

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.

Some people like doing crossword puzzles or Sudoku. I love auditioning. On camera, I hated auditioning. But voiceovers I like trying to figure it out, then getting in there and seeing how close you can get.

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.

Sometimes the presence of a camera is like opening a door.

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.

The naked figures in the landscape have willingly undressed for my camera. They are either perfect beings heroically occupying their Edens, or else they are gardeners after the Fall, lost and exposed to both the elements and the lens.

I remember like that scene with Pharrell where they're at the music video shoot, we have this on camera actually, Pharrell's confused because we weren't doing the script. We were doing all this improv and then Diddy says to him... Pharrell's like I don't understand what's going on and Diddy goes, "We do a lot of improv". (laughter) I remember being we just made him into a comedy nerd. We somehow turned Sean Combs into a comedy nerd, so.

I remember thinking, I want to work for the camera.

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

At the other end of the room, Grandma had the lid up on Larry Lipinski. She was standing one foot on a folding chair, one foot on the edge of the casket, and she was taking pictures with a disposable 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 like acting too much and it's too, I'm just too busy doing that and I'm too hungry for it, to get behind the camera. I mean, unless I could act in it, too. I don't think I've got the right brain. I'm too disorganized.

I worked on 'Sarah Connor' even longer than 'Firefly.' And I always remembered how generous everyone was to me when I didn't know what to do, and I didn't know the rules, and I didn't know camera angles, and I didn't know lighting.

I never go to a gym unless I have to for a role, a contract. I try to take care of myself as a human being, not because I have to be in front of the camera.

I don't own a camera, so I travel with a police sketch artist.