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.

I could take a cow and implant a camera in it and let it amble around the city or in its own domain (I say a cow because a human being I would not trust). If the camera was programmed to go off at an indeterminate series of moments, the samplings would be fantastic.

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.

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

I'm always going to hear people make that connection and I've just accepted it. It's alright. I'm just happy that I get to do my own thing now. I learned a lot from the show [the Voice] as far as being in the TV world and being in front of the camera, which is really great because I'm not as nervous in front of the camera as I was before.

I'm into capturing the moment. Sometimes, I'll rip the camera out of my assistant's hands and he'll be shouting, But there's no film in the camera! and I think, Never mind! Let's go.

I do believe that a film like Ten could never have been made with a 35mm camera. The first part of the film lasts 17 minutes, and by the end of that part, the kid has totally forgotten the camera.

I've worked with actors who treat the first two takes like rehearsals. And that's okay. If the camera is on you and we're doing a scene where I'm off camera, I'm treating that as a rehearsal.

We have African-Americans and black people getting behind the scenes more and more, we get true black images in television and film...because we have black people behind them. They can tell stories from those points of view and bring to life those characters who have yet to be shown. As long as we have people behind the camera just as much as in front of the camera doing the work, then we'll always be good.

What some highbrows call rapport is nothing more than a mild flirtation between photographer and the girl on the other side of the camera. Some models get so professional they can send hours flirting with the camera itself while the poor photographer is reduced to the role of spectator.

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 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.

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 ask my assistants if they're retarded all the time. When the camera is on you, of course, actors have the ability to make it real. For me, if I'm not talking, it is a problem. I have so much more respect for actors after being in front of the camera, and I realize that the hardest part is when you're not talking. Listening is harder than just acting. Listening is the hardest part.

Some people come up to be directors by coming through the camera department and there's not a lot of women in the camera department. The ones that are have to kind of prove they're one of the boys, I think. I don't want to get into trouble with generalisations but I think it's a fair observation.

Strange, how such a small realization can affect everyone's life forever. In movies there is always a carefully staged moment - a big crescendo of music, close- ups of the actors' faces, the camera slowly pulling away to let all this sink in for the viewer...but, in real life, most all of the extraordinary things happen with no more loudness than a whisper.

When I'm on camera, I have to do things pretty much the way I do things in everyday life. It gives the audience someone real to identify with.

I like to know where the camera is.

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'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 secret of photography is, the camera takes on the character and personality of the handler.

I'm a big believer in just using CGI to polish what you get on camera.

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.

Sometimes you just create a joke out of thin air in the editing room. I'm really glad I've had that experience. It gives me a little more confidence in front of the camera.

I'm gay. It feels so weird saying it on camera!

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

After I discovered my degree in photojournalism would only get me a job in a camera store, I taught myself lighting. I read tons of magazines and books and studied the photos trying to figure out how they were done. I bought some flash equipment and played around until I figured out how to make a subject look as I envisioned it should look.

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.

After the war, photography came alive, in part because everybody started to use the 35mm camera, and worked on the street instead of in a studio, and that made an enormous difference in not only how photographs looked, but what they were about.

The one hour live debate in the West Wing that we did was one of the most exciting times for me on stage or on camera, because anything could go wrong.

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.

The camera can photograph thought. It's better than a paragraph of sweet polemic.

I don't want to disrespect hip-hop by being something I'm not. I'm Pooch Hall. My strength is in front the camera and holding dialogue.

I spent a lot of years just learning my craft and falling down in front of the camera.

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.

When van Gogh paints sunflowers, he reveals, or achieves, the vivid relation between himself, as man, and the sunflower, as sunflower, at that quick moment of time. His painting does not represent the sunflower itself. We shall never know what the sunflower itself is. And the camera will visualize the sunflower far more perfectly than van Gogh can.

As for the various kinds of montage photography, they are in reality not photography at all but a kind of painting in which photography is used - as pastiches of textiles are used in crazy-quilts - to form a mosaic. Whatever value the montage may have derives from painting rather than the camera.

I started out with this dream of being a director and doing cinematography and bought my first film camera at 15.

My great joy in working on anything is stepping out in front of the camera and working with the actors.

I like to try to shoot in the city in a way that allows the city to go about its business while we're shooting, and that's always a challenge because unfortunately people on the street don't know not to look in the camera or interact with the actors.

When I was a kid, I would make kung fu movies with the kids in the neighborhood, and I would be the guy behind the camera directing everybody, but they were all very silly little shorts and comedy bits.

'How do you balance the creative with the biblical?' One could pick up the scripture and read it to oneself and you would be communing directly with that information. As soon as you go into film, as soon as there's a camera, and there's an angle, and there's lighting, and there's editing, you're into the adaptation.

I try to express in my films things that no other art can approach. In my monster films for example, I use special effects in the same way one would use a special film stock, a special camera, and so on. Monster films permit me to use all of these elements at the same time. They are the most visual kind of film.

Pick up a camera and start shooting. You need to wade in in order to figure out how to move forward and do something concrete. I firmly believe that a lot dynamic and revolutionary work flows from those who summon all of their personal energy and just go out and make something.

It's kind of dangerous to cut in the camera, but that's the only way I know how to direct.

I was paying attention to where Steven Soderbergh had the camera and his shots. I was blown away.

I feel like if I started to use it [camera] that way, it would be like a sin almost. I never show people ugly pictures I take of them. I usually destroy them. So even if I like it, and they don't, it doesn't get shown.