Quotes About Camera

The simple act of having a camera, not a cell phone, but a camera-camera, there’s a kind of a heightened perceptional awareness that occurs. Like, I could walk from here to the highway in two minutes, but if I had a camera, that walk could take me two hours.

Some comedians you work with, they only turn on when the camera turn on, and they're like sad-faced clowns when the camera's off. And then, they come alive when the camera come on. And you be like, "Oh, damn. You're not a depressed ball of depression, but you are actually funny."

I want to be the person who eventually doesn't have to be in front of the camera. I can be behind the camera and really change things cinematically, and this is giving me an opportunity to do something behind the camera, which I really want to maximize.

I love to just listen and watch. I could happily watch a security camera at a store. Often during a day I'll see a guy selling pretzels or an argument that somebody's having on a stoop and I'll think, "Oh I wish I had my camera, I wish I could capture this moment." There's something about people being people and interacting that can be so beautiful when it's framed by a camera. That desire to capture people as they are, and the stubbornness to keep going when they don't necessarily want you to capture them being who they are, are key.

The feeling I have reminds me of New Year’s Eve, when the countdown is coming and I’m not quite sure whether to grab my camera or just live in the moment. Usually I grab the camera and later regret it when the picture doesn’t turn out. Then I feel enormously let down and think to myself that the night would have been more fun if it didn’t mean quite so much, if I weren’t forced to analyze where I’ve been and where I’m going.

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.

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.

I like having the digital camera on my smart phone, but I also like having a dedicated camera for when I want to take real pictures.

A man with a camera was always suspected of being a spy. Moreover, the Jews did not want to be photographed, due to a misunderstanding of the prohibition against making graven images (photography had not been invented when the Torah was written!). I was forced to use a hidden camera.

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.

I taught myself to use a camera - it's not very difficult to use a camera, but I never bothered looking at any textbooks on how to make a picture. I had a much more casual relation to it. For me at the time it was much more about the process rather than the results.

The camera is objective. When it records a face it can't make any hierarchical decisions about a nose being more important than a cheek. The camera is not aware of what it is looking at. It just gets it all down.

There was actually a camera on your face. I don't know so much about the animation process but the camera was in our face so it could get expressions from our faces that would eventually arrive on the gnomes. It almost felt like you were cheating at times because it was a wee bit too much fun. You were in that box on your own. Kelly [Asbury] was in Toronto, I was in LA, so I was just on my own. I thought: "I can't be getting paid for this as well!"

My McQueen particularly was hard to make, because my father was dying. I see it, and I see my confusion, my pain, my everything. I thought that it was really interesting to be able to put the people from behind the camera in front of the camera as they make it.

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.

I'm a film rat. I love being in front of a camera. I love being behind a camera. I love talking to the director. I love talking film.

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 really enjoy behind the camera stuff and I'm a frustrated photographer myself and just love the camera. I love that side of it and that part of the filmmaking world and I enjoy developing things. It's an area that I'll continue to be more active in as time goes by.

I know of few actresses who have this incredible talent for communicating with a camera lens. She would try to seduce a camera as if it were a human being.

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 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.

The film [ Wyatt Earp and the Holy Grail] was shot on a KODAK Zi8 camera as well as on multiple camera phones. It was processed using the effects of FINAL CUT X and then edited in FINAL CUT 7.

I work primarily for the camera-it's not something I really talk about a lot, but it's part of the way I am as a movie actor. The camera is my girl, as it were.

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.

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.

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.

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

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

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.

I remember they did all the makeup tests on me for Darla... Sorry, for "the vampire." I was the test monkey for the vampire look, so I went through numerous variations of the prosthetics and camera tests before I actually got the job.

I do have a concern about projecting. I've never projected or had any reason to project before. In fact, the camera has only gotten closer to me going from TV to film.

One of my passions is photography. I always carry a camera in my bag whenever I travel. I always take pictures wherever I go, and some of them end up being really crazy ones.

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.

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.

When you're in front of the camera, for a small budget or a big budget movie, there's no difference.

I'm a visual filmmaker so the camera is a big part of my storytelling tool and it's something that I really rely on to tell a scene or create the suspense that I need and create the emotion of a scene or a sequence.

The camera can move, you can make the shots, blah blah blah, but as long as the actors are good, you have something.

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.

You have to understand where the camera needs to me. There were times where you were suddenly aware where the cameras were, then you were in a different place and it didn't feel like the same movie.

I think you should do rehearsal and work at it, but when the camera rolls, you should be ready. Try to make it good the first time.

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.

The most important piece of equipment after the camera is a good pair of shoes.

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.

And I also have a camera, a Web cam, and I have one at home, so I can hook up and talk to the girls, and they can see me while we're on the bus in the middle of nowhere.

If my friends are going to the mountains with guns to fight, I will continue that fight, not with guns but with a camera.