Quotes About Camera

I have received the digital camera as a blessing. It has really changed my life as a filmmaker, because I don't use my camera anymore as a camera. I don't feel it as a camera. I feel it as a friend, as something that doesn't make an impression on people, that doesn't make them feel uncomfortable, and that is completely forgotten in my way of approaching life and people and film.

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.

The majority of my background is multi-camera format, which is very broad and a very arch perception of reality. Whereas single camera tends to be more truthful and a little more intimate of a medium. Friends was an education in intelligent comedic banter; in intelligent vernacular. It was an education in scene study. It was an education in group dynamic. I came out of there with a masters degree in comedy.

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.

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.

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.

When I was younger, I was reticent to be vulnerable on camera and everything I was doing was just a really finely honed defense mechanism from when I was a kid, and I was now using this to make a living on camera.

The camera is a remarkable instrument. Saturate yourself with your subject, and the camera will all but take you by the hand and point the way.

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.

You really feel like you're on the cutting edge and you know you are because all the camera equipment you take for granted doesn't exist for 3-D. So all the cranes with all the stabilized heads, they don't work on 3-D because they're all built for lightweight camera packages. As soon as you kind of put two cameras together and all the other crap that they need and the cabling to go back to the computers, we've literally, the cranes on these movies, they break after a couple of days.

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.

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.

Looking into my future, I don't always want to be in front of the camera. I want to be behind the camera and bring to life those family members of mine or people that I knew or the kids I grew up. I want people to know the different facets of black people, brown people, all people.

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.

I used to always love taking photos, but I would always give a camera away to someone else. Now I don't give the camera away anymore. It also takes a long time to develop a visual style, and I think that the things that I was imitating were people I love, like Judy Linn or Gerald Turner, and then it slowly started to become more myself.

The camera is a natural attraction for a politician. And if a camera is here, we're going to be here. And we're going to say something, even if we have nothing to say.

The camera is not only an extension of the eye but of the brain. It can see sharper, farther, nearer, slower, faster than the eye. It can see by invisible light. It can see in the past, present, and future. Instead of using the camera only to reproduce objects, I wanted to use it to make what is invisible to the eye - visible.

I think the theater work and the on-camera work feed off each other. My theater work has become more simple, and my on-camera work has become more energized or more spontaneous.

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.

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

I have a lot of appreciation for what people do in front of the camera as well as behind the camera. I don't think I could like one without the other. Eventually, I think the road will lead me down to producing or directing, because it's more about problem solving.

I think what's exciting about doing it as found footage - if we all are being honest, found footage gets a little bit of a bad rap sometimes, but I think that there's a lot of potential in the medium in taking it seriously and in treating the audience with respect and in treating the characters with respect in terms of, why is the camera really on? Where would the camera be when it is on?

Sometimes you meet someone, and they seem great, they seem exactly what you're thinking of for the role, and then you put a camera on them, and they freeze. And other people come to life with the camera on them. I haven't discovered any reliable predictor for that; I think you just have to try it and see what happens. And, you know, sometimes the people who freeze, if you find the right magic word to say to them, you can unlock them.

It is not a camera, or a reporter that makes something real and genuine; more often a camera or a reporter does the opposite.

As small, quick, foolproof cameras became generally available, moreover, the camera has been used so much and so flabbily by so many people that it has acted as a sort of contraceptive on the ability to see.

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

Working in front of the camera keeps me alive.

The truth is I've always been a Christian. What's amazing, is that the flaws that come with Christianity are really weird, because mine have a microphone and a camera attached to them. Most people don't have to live under that microscope.

You have to be able to observe life as if you were a camera all the time, constantly looking at light and the way that things are placed and the way people hold themselves. You need the ability to see something in someone or something that no one else really sees and be able to bring that to light. Basically, you have to be an obsessive crazy person.

I understand the opposite side of the camera. I have a profound respect for that. I have worked with people who, when you hit that mark, are doing 50 percent of your work for you. So, you know, it's a balance. When you walk into a mark and you're lit a certain way or something's happening so often you don't know what's behind you... And that's what's so strange about being a movie actor.

The thing is that when you don't carry a camera, that's when you see pictures in particular, or at least that's when you think you see pictures in particular. When you do carry it, if you do see one on the occasion that you do, you can take it.

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

The camera has an uncanny ability to capture the world as it is, to seize events as they happen, and also to conjure visions of the future. But by the time the image reaches the eyes of the viewer, it belongs to the past, taking on the status of something retrieved.

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

The joy for me of television is the sort of family feeling of being involved with an ensemble - the cast and the crew and the director of photography and the guys in the camera truck - and you're all coming together. There's a great feeling when that is a successful unit, a successful family.

In the theater you rehearse in order to do the performance. And in the movies the rehearsal and the performance are kind of the same thing. You're figuring it out and hopefully the camera is pointed at you when you're doing it.

I definitely prefer the single camera better. For me it's the simple fact that I enjoy working in front of an audience, but when you're trying to create a suspension of disbelief it's much harder to do in front of audience because they become a partner. Moreso than that, they become in charge of the timing. From the simple, mechanical fact that you have to hold for their laughter. The actual timing of the scene is in the hands of the audience. As a control freak, I don't enjoy that as much as the ability to be able to control it in an edit room.

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

As Mike Bickle said to me, there is a spiritual battle going on in the world, and he believes that in America marriage between a man and a woman will become illegal. He believes there will be a war. He believes it'll begin in schools and the Christian kids will rise up and slay the non-Christian kids. This was an on-camera interview!

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.

A good writer writes with a camera, not a pen.

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

I had to learn how to modulate my performances and interpretations of these roles in auditions for the camera.

I don't like to move the camera that much anyway.

Our job as actors, especially in front of a camera, is almost like textile artists. We spend so much time getting the right texture of yarn, and working out the color scheme, and binding off the weave, and making it just right.

I like anything with a live audience. I love sitcom work. I hope it comes back in fashion because I really love it. I love single-camera work, too, but in a different way than that live-audience thing, which is really exciting.

New video gaming systems are coming out that track every joint of your body. It's basically going to become a normal thing for us to allow Microsoft to put a three-dimensional camera on top of your television set looking at you, which sounds like a Big Brother scenario if ever I heard one, but, still, it's what we're going to allow.