Quotes About Camera

I invented a camera that has an exposure time of one hundred years and the camera works in the simplest possible terms, because anything more complicated is more likely to break down in one way or another. It's a pinhole camera that lets in very low light and instead of exposing film, which is going to spoil within a matter of days or weeks, I'm using ordinary black paper.

Under examination by the camera, a human body becomes for its inhabitant a field of betrayal more than a ground of communication, and the camera's further power is manifested as it documents the individual's self-conscious efforts to control the body each time it is conscious of the camera's attention to it.

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 can use the camera to make a place or landscape; the camera to a greater extent projects rather than takes in or reproduces. The camera, or, rather, the eye, produces the impression of the place: I as a photographer am not passively taking in; I am active as a subject generating the object.

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.

Live television drama was like live theater, because you moved without thinking about the camera. It followed you around. In film you have to be more aware of what the camera is doing.

You should never use the camera to make your pictures. You use yourself, your experience to make the picture with the camera. Not the other way around.

Elizabeth Taylor is, in my opinion, the greatest actress in film history. She instinctively understands the camera and its nonverbal intimacies. Opening her violet eyes, she takes us into the liquid realm of emotion, which she inhabits by Pisces intuition. Richard Burton said that Taylor showed him how to act for the camera. Economy and understatement are essential. At her best, Elizabeth Taylor simply is. An electric, erotic charge vibrates the space between her face and the lens. It is an extra-sensory, pagan phenomenon.

The camera relieves us of the burden of memory. It surveys us like God, and it surveys for us. Yet no other god has been so cynical, for the camera records in order to forget.

I know that I present very - they say that I present very, very calm and very, very smart, very articulate, elegant. Yeah. And I go, 'Brilliant teams of makeup and wardrobe happened to dress me and clothe me and put my face on and do my hair. And then these brilliant teams of writers give me words to speak. I just need to make sure that I have them all in this combination in my body, in my being, and then I get to do it on camera, in front of a brilliant team of camera workers who really know how to like me and make me sound good.' So I'm just really a dork in real life.

Onstage, I enjoy the thrill of live performance - there is no substitute for that rush. On camera I enjoy the crafting of a scene, the widespread creative marksmanship happening all around you for every second of footage. Onstage you can suddenly feel solitary, like it's all on your shoulders, while on camera you feel like there are so many people working with you on every shot. Those are each unique and gratifying challenges.

I really trust the authenticity of real people and my job is to get them to be themselves in front of the camera. Often what happens is, you'll get a newcomer in front of the camera and they'll freeze up or they imitate actors or other performances that they've admired and so they stop becoming themselves. And so my job as the director is just to always return them to what I first saw in them, which was simply an uncensored human being.

I saw that the camera could be a weapon against poverty, against racism, against all sorts of social wrongs. I knew at that point I had to have a camera.

I built my own studio. I don't have the professional language to describe it because I'm not a videographer - but I'm a technician. So I get the camera, I get all the things that translate the camera to the computer, I set up a live session, I do the security on it, I set up a background so I can key it out, like newscasters do, and replace it with whatever I want - and I can be anywhere I need to be.

Photographs also show the way that the camera sees. It's not just me or you or anybody else. The camera does something that is different from our own setting.

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.

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!

I enjoyed being at Jurassic Park, with Jeff Goldblum and Sir Richard Attenborough. It's funny, because Steven Spielberg would actually operate the camera sometimes. He'd consider the camera, and he'd be kind of looking at me. He actually shot a few of the things that I'm in, in that lab, with that long ash dangling off that cigarette. Hogging that fake cigarette. Because I had quit smoking, and he wanted to make sure I didn't go back, so he got me the worst-tasting fake cigarettes ever.

I just use [the camera]. I just pick it up like an axe when I've got to chop down a tree. I pick up a camera and go out and shoot the pictures I have to shoot.

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.

On the brilliance of James Brown's dancing − and the frustrations of bad camera-work on dancers:cers: I think James Brown is a genius you know when he's with the Famous Flames, unbelievable. I used to watch him on television and I used to get angry at the camera-man because whenever he would really start to dance they would be on a close-up so I couldn't see his feet. I'd shout "Show him! Show him!", so I could watch and learn.

David I knock you out! - While pointing to the camera with a smirk.

When gifts are given to me through my camera, I accept them graciously.

I always try to create equal power between the subject and the object, so as not to end up creating a relationship where the camera is here and the object out there. This is for me a very difficult and sensitive balance. When I produce a work, cut and frame images, I realize that spectators can identify with the images and almost forget that someone else actually made them. This would be the optimal situation. I don't know whether I succeed in doing so, but that's what I would like to have happen.

It's like being called up in the draft. The peculiar joy of hemorrhaging without bleeding starts when the evil little red light glows on the monstrous camera.

I know the pleasure you get from making your films. The intense involvement in every aspect: the acting, the camera, the colors, the costumes, even the hair and makeup. Editing is thrilling. Everything to do with films is absorbing - everything but the money part, the business. But I'm deeply glad I've had that experience.

Before each new setup, I chase everyone off the set in order to be alone and look through the camera. In that moment, the film seems quite easy. But then the others come in and everything becomes difficult.

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.

There is a part of me that still wants to go out and grab a backpack and unplug - not take a cellphone or even a camera and just get out there and experience the world and travel. I have yet to do that, but someday I hope.

I prefer working behind the camera.

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

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.

The documentary photographer aims his camera at the real world to record truthfulness. At the same time, he must strive for form, to devise effective ways of organizing and using the material. For content and form are interrelated. The problems presented by content and form must be so developed that the result is fundimentally [sic] true to the realities of life as we know it. The chief problem is to find a form that adequately represents the reality.

It is inescapable that Ringo was the catalyst for the others. He certainly completed the jigsaw and The Beatles, with Ringo, became a magnet for the great camera artists of the world, a target for the jaded, lately hostile eyes of people who had hardly known that popular music existed.

The more we can put the camera in a better place, the more we can take the audience on a more extreme journey with that character.

I had rescued the moment by using my camera and in that way had found how to stop time and hold it. No one could take that image away from me because I owned it.

It is important to understand what are you trying to capture with a camera. What you want to use this tool for. It helps to begin to search for and concentrate on thematic photography.

I feel like an artist often turns the camera on themselves and on their own families to understand who they are.

I was really awful at auditions. There's something about sitting down and saying into the camera: "I'm Nina and this is the name of my agent." That makes me just die inside.

Well, I think the camera freedom is something that we've resisted for a long time and feels like probably the biggest stretch. But it has some huge benefits.

I've got the luxury of being able to work largely alone, so I don't need to communicate difficult creative classeas to other people and can leave the whole thing in my head or on scattered notes and sketches that only I need to understand. So I can very radically and quickly change things as I go without tripping anybody else up. And the camera allows me to experiment and try new things on the fly.

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.

Don’t pack up your camera until you’ve left the location.

You have to remain strong. That's the kind of filmmaker I want to encourage. Orson Welles was the one who said, you know, you can learn anything you need to know about filmmaking- that's camera, sound, celluloid, video at this point- in four hours. It has nothing to do with anything. It has nothing to do with it... It has to do with what you want to say. If you feel you have something to say, you'll find that way to get it said, on film, and not let anyone or anything chip away at that or tarnish it, because it's something special and precious.

My number one rule is to keep that camera rolling. Even if it's shaky or slightly out of focus, I don't give a rip. Even if a big old alligator is chewing me up I want to go down and go, 'Crikey!' just before I die. That would be the ultimate for me.

A camera can get you close without the burden of commitment. It's a nifty device that way, a magical passport into people's lives with no permanent strings attached.

The selfie has become a new autograph, but it takes twice as long to do as a real autograph. I do it because I'm like, "What am I going to do, these people bought me my house." Why am I not going to take a picture with them except I always say, "You have to hold it up! Shoot down or it's really ugly if you shoot up!" So not only does it take longer, you have to teach them camera angles.

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.