Quotes About Camera

The camera cannot leave the man, but the man can leave the camera. It's in the style of documentary where you make an agreement between a camera and a man and say, "I'm going to film you now."

I'd like to use IMAX. The problem with IMAX is that it's a very loud camera. It's a very unreliable camera. Only so much film can be in the camera. You can't really do intimate scenes with it.

I don't think it's necessary to worry too much about being authentic. I think a picture taken on an iPhone and then filtered through something to make it look like it was taken on a Super 8 camera can be just as authentic as something taken on a Super 8 camera, if it's capturing something real or beautiful.

The first thing I did with my very first camera was climb Mt. Fuji. Climbing Mt. Fuji is a lesson in determination and moderation. It would be fair to ask if I took the moderation part to heart. But it certainly was a lesson in respecting your camera. If I was going to live with this thing, I was going to have to think about what that meant. There were not going to be any pictures without it.

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.

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.

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.

The camera is an instrument that teaches people how to see without a camera.

I don't know if the camera likes me, but I do like the camera.

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.

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.

The camera does not like acting. The camera is only interested in filming behaviour. So you damn well learn your lines until you know them inside out, while standing on your head!

When I work, I really try to get absorbed in the character. Unless I want to do something playful with the camera, I'm not too worried about where the camera is or positions.

Suddenly this camera, this thing, allowed me to move around the world in a certain kind of way, with a certain kind of purpose. (On receiving a camera for her twenty-first birthday)

The contemporary artist...is not bound to a fully conceived, previsioned end. His mind is kept alert to in-process discovery and a working rapport is established between the artist and his creation. While it may be true, as Nathan Lyons stated, 'The eye and the camera see more than the mind knows,' is it not also conceivable that the mind knows more than the eye and the camera can see?

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 love making films, and as long as I love the subject, I just have a crazy amount of passion and energy for the project. The project that influenced me the most is this cooking show I do online. I film it all myself, and I think making so many of those gave me the confidence that all I need is a camera, and I could go and do an interview. The freedom to be a filmmaker - you just need a camera.

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.

Some people say the camera loves me, the truth is, I love the camera.

Of course, the camera is a far more objective and trustworthy witness than a human being. We know that a Brueghel or Goya or James Ensor can have visions or hallucinations, but it is generally admitted that a camera can photograph only what is actually there, standing in the real world before its lens.

I've often said, not totally jokingly, that screenwriting doesn't really qualify as real writing at all. You don't string sentences into paragraphs. You don't maintain a constant breath, or create internal rhythms, or even develop a fully-formed thought. The camera does all that work for you!

It seems positively unnatural to travel without taking a camera along... The very activity of taking pictures is soothing and assuages general feelings of disorientation that are likely to be exacerbated by travel.

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.

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.

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.

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 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.

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

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

Computer images, like camera images today, will be seen as representations of a simulated, second-degree reality with little or no connection to the unmediated world. This is one lesson we can learn from photographs, and especially from those of the last 25 years: images exist not to be believed, but to be interrogated.

If it doesn't feel like a job and I'm learning something and getting that rush that I get, I don't care if it's behind a camera, on a TV set, or on the moon.

There's something essentially fictive about a photograph. That doesn't mean that if you understand that, and you understand how the world is transformed by the camera, that you can't use the limitations or the transformation to have an observation that is a very subtle perception of the world.

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.

In my childhood I was obsessed with cameras but could not afford one. After much persuasion my father Harivansh Rai Bachchan bought me a box camera which I treasured for years. Initially I clicked trees and nature and as I grew up started noticing prettier things-motorbike, sleek cars and cool girls. But the hamartia of life is when you desire something you cannot afford it and when you are able to afford it you are too old to use it. Now I don't need all gadgets but it's satisfying to know that at least I can afford them.

In Slumdog Millionaire when you are immersed in the point of view of children in the slum and the bustle of the city, the handheld camerawork is amazing. A handheld camera is perfect for establishing point-of-view and for instilling the feeling that you are there.

In my hand luggage I always have my camera, iPod, make-up bag, tooth brush, cleansing products, clean underwear, socks and a change of clothes in case anything goes missing at the other end - and of course my passport.

The picture is good or not from the moment it was caught in the camera.

If you can show something as complicated as two people falling in love with just music and camera angles, well, just think about what you can do with football.

The digital camera is a great invention because it allows us to reminisce. Instantly.

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

I don't pretend to make my photographs speak the truth of what Mexico is all about. But in its villages I can feel the way culture is changing, and it's fascinating to live through it and try to capture it on camera.

The three most disastrous inventions of our time have been the birth control pill, the camera and nuclear weaponry. The first offers sex in terms of sterility, the second reality in terms of fantasy, and the third security in terms of destruction.

The fact that there aren't an abundance of African-American males that are getting lead roles [and] that are getting roles that have prominence on the big screen. [It's] the same thing from behind the camera; maybe even worse. Coming up, when you're black and you want to direct somebody says, "Oh, you're Spike Lee" or "You're John Singleton."

I've ended up spending more time in front of a camera than on stage, but the stage is where I come from.

The camera is first a means of self-discovery and a means of self-growth. The artist has one thing to say - himself.

You don't need 70 people in a White House press conference to tell people what happened there. You need a camera and maybe a couple reporters, and that's it.

An actor stands in front of a camera onstage, and he controls time and space for the audience. He tells them how long this will take, where to look, when to look, what to think about it. And good performers should be able to do their part with the sound off.