Quotes About Camera

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.

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.

I've been acting since I was 2 and have always been on camera but doing a video is different because when you're acting, you pretend the camera's not there and you just do the scene and with a music video you're right in the camera so it feels weird sometimes.

It helps so much being on location. It's like the difference between performing for the rectangle of the camera versus a world being created and then the camera finds things within that. There's a huge difference in that, because what it takes away is performance. You don't feel like performing. You're just kind of doing it. You're existing.

That shot in "Into the Inferno" somehow popped up while my editor and I were viewing the footage. I immediately said, "That looks like the opening shot because the camera approaches the action very slowly and we have enough time to insert some of the main credits into it." So it was a practical choice. At the same time, you see these tiny figures standing at the rim of something, and all of a sudden, the camera rises further and you find yourself looking straight down into an inferno.

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.

Being behind the camera you have control; you have the ability to make decisions for characters, for where the story line's going to go, how you want to put it out there, how you want to edit it. Acting is like where you paint on the canvas, and being behind the camera is like being either the paint or the paintbrush. They're both a part of the creative process, it's just that they have two different functions.

I know what to do with the camera because I see the giant in the camera when I'm operating it live on the set.

It's the angle that shows how we see differently. I have always believed that all documentaries are fictional. It's really the angle of the camera, the owner of the perception, that makes the story what it is. The video camera is a fiction.

Basically, if you shoot your own stuff, you can just pick up a camera and some wireless microphones, grab a couple of LEDs, and you're off and running. And if you don't shoot your own stuff, you can just grab one other person to do camera and you can learn how to do the sound, and you're off and running.

I feel like doing theatre helps my on-camera work and my on-camera work kind of helps my theatre work. So I love to be able to bounce through the mediums.

It doesn't matter if they're in front of the camera or behind the camera. I know women who are producers who are surviving on nothing but juice and almonds.

A sitcom, you rehearse for four days of the week and then you shoot it all in one night in front of a studio audience. It's like a play every week, you just shoot it over a seven or eight-day period with a single camera. I enjoy this format of show much more. I'm a feature guy. I like making movies. So the four camera thing I didn't love it that much. I found myself slightly out of my element.

I also know what looks good before the camera, how to move the camera, and how to get a story on the screen.

I got a unicorn horn on my head once. I said, "Can you really see that on camera?" My producer said, "You can see it from space." I would have to angle my head a certain way so that I didn't look misshapen on camera.

When I was an actor in some movies a long time ago, I was so curious about all the camera movements - why is the camera placed here, and why does it move like this? And why the set and the background, the color? It's a lot of questions for me to ask, because I was so interested, not only in acting, but also the whole process of filmmaking.

As far as digital technology has come, there's still one thing that digital cameras won't do: give you perfect color every time. In fact, if they gave us perfect color 50% of the time, that would be incredible, but unfortunately every digital camera (and every scanner that captures traditional photos) sneaks in some kind of color cast in your image. Generally, it's a red cast, but depending on the camera, it could be blue. Either way, you can be pretty sure-there's a cast.

If I want a small take-everywhere camera, I prefer my iPhone 5, which has colors and tonal range superior to any DSLR or compact digital camera I've ever used at their default settings.

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.

For example, in my dorm, at the University of Kentucky, I had the only camera. I don't think anyone came to college with a camera, other than me.

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 spent every day just praying that I didn't look like a big dork on camera.

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.

I feel really comfortable when the camera is rolling. I feel less comfortable in the moments before and after, like, "Okay, where do I sit now?" I find the social aspect of being on a project ... it's just a lot. There are so many new people, and it's a lot of introducing the most charming, most engaging, funniest version of yourself to, essentially, a bunch of strangers you already know too many details about.

Human vision is untrustworthy, subjective and selective. Camera vision is total and non - objective.

My stepfather gave me a Kodak camera when I was 17 years old. I started working at a local photo store in Le Havre, France, taking passport pictures and photographing weddings.

When the camera starts to roll, there is something of death about it.

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

I make the woman look at the camera as a symbol of all the eyes that will see the picture I am making.

Since a camera is something too heavy for women and initially made for men, you need a good cameraman.

I really did feel like I was surrounded by family members. I didn't have a dad, and I remember there were all these guys - in the old days, there were no women, except a makeup artist or, occasionally, a script supervisor. So there were just guys who taught me how to, you know, whittle wood, or how to pull focus, and what the camera was doing. And if I was being bratty, they'd sit me down and tell me. There were lots of rules about not being late and making sure that you didn't spill anything. So it felt a little bit like I was in a family.

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

You have to really think about what kind of guy the character is and decide on a style that works, that complements my physicality and that's going to be believable, but also be compelling for the audience and for the camera.

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.

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.

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.

Over the years I have photographed thousands of people. I have never stopped being curious and trying to discover new worlds. I have used my camera as a mirror for my subjects as well. I remember photographing a woman in her 80s for my book, Wise Women, who told me it had been a long time since anyone had really been interested in "seeing" or photographing her. When she saw the picture, she burst into tears. She saw something in the photograph, an inner beauty and soul, she felt had long ago vanished.

The thing about being a photographer that's so cool is that you get to participate, but you also get to disappear. The camera is in front of your face all the time.

The biggest battle for a lot of people who come out of the theater, which is where I was trained, is that they can never forget that a camera is pointed at them.

Aging on camera is just very hard. I love my age. I feel good about myself but high definition television is not kind. You don't even look like yourself in high-def. It just makes every little line on your face more exaggerated so it ends up aging you. It's like you're watching yourself seven years older.

The original interest in making pictures that don't directly depict came around '97 or '98, when I felt there was such an acceleration of images in the world, and that was before Flickr and so on. So I felt a need to slow down how one consumes photographs. With the abstract pictures, I was engaged in trying to find new images, but in practice, it was a bit like throwing a wrench in the spokes. The omnipresence of photography is at a level that it has never been in the history of the world. I feel really curious to now reengage and see what the camera can do for me.

The camera can film my face but until it captures my soul, you don't have a movie.

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.

It's hard to do a camera inside of a car. Non-Stop would have been impossible. Usually modern lenses you can focus up to the lens pretty much, but anamorphic you can't. You need like three feet.

After directing the first film it feels kind of tricky being back to being in front of the camera, because I've always got one eye over there, kind of thinking of what they are doing, and how the shot is being composed. I think it takes a couple of films to just get back to just being an actor.

Musicals and horror films can be very non-verbal and very pure cinema with movement. The camera is justified in being a character. It can really move and tell a story, and literally direct you to look here or there.

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.

I have pictures of my daughter, in the hospital, at three seconds, six seconds, nine seconds, and then fifteen seconds, 'cause dumbass couldn't get the camera ready fast enough. Yeah, ha ha ha. She wrote that in the photo album.