Quotes About Camera

It would be great to do another television show that was a multi-camera because the hours are so wonderful and you can be a good mom at the same time. The problem is, there aren't a lot of multi-camera shows that I personally like. My aesthetic is more geared toward single-camera shows.

My main camera is a Nikon D3. I use a French camera from the 1800s for wet plate photography, I use a Hasselblad sometimes. But to me the camera really doesn't matter that much. I don't have a preference for film or digital.

Physically, rowing was remarkable resistant to the camera... the camera liked power exhibited more openly, and the power of the oarsmen [is] exhibited in far too controlled a setting. Besides, the camera liked to focus on individuals, and except for the single scull, crew was sport without faces.

Once a photographer is convinced that the camera can lie and that, strictly speaking, the vast majority of photographs are camera lies, inasmuch as they tell only part of a story or tell it in distorted form, half the battle is won. Once he has conceded that photography is not a naturalistic medium of rendition and that striving for naturalism in a photograph is futile, he can turn his attention to using a camera to make more effective pictures.

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.

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.

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.

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.

I'm really specific in the way that I shoot. I've always had a very good sense of what I need in the editing room. I used to shoot in a way that drew more attention to the camera and I've tried, in each film, to draw less and less attention to the camera. I think when you pay attention to the shots, you're aware of the fact that there's a director.

I'm a narrative-minded actor. I'm thinking of the story. I'm not worried about whether the camera is on the right side of my face, or where the camera is. I'm just going for the story.

You're talking about a whole camera crew and being mic'd up professionally everyday and just having another group of people following you around. It's a little different than having friends pick up a camera and follow you around.

When I began to photograph nudes, I let myself be guided by this camera, and instead of photographing what I saw, I photographed what the camera was seeing. I interfered very little, and the lens produced anatomical images and shapes which my eyes had never observed.

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.

If a bout of "creepy face" sets in, the trick is to look away from the camera between shots and turn back only when necessary. This also limits how much of your soul the camera can steal.

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 think that film is still an artform and it doesn't really matter if you're using a digital camera or a film camera.

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 tried to keep both arts alive, but the camera won. I found that while the camera does not express the soul, perhaps a photograph can!

Jack [Nicholson] really knows about the camera. He's one of the directors who likes to play with the camera. He'll change things around, play with lighting, things like that. He'll even spend hours on the set-up for an insert shot. He's an interested person who gets involved in all the aspects of the films he is making.

There's always been a shortage of roles for three-dimensional women, no matter what age. If you look at the statistics on women in film, be they behind the camera or in front of the camera, and it's pretty nauseous-making. It always has been.

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.

If I had to give advice to other photographers, I would first suggest quickly getting over the camera equipment questions. In my humble opinion, the make and format of a camera is ultimately low on the priority scale when it comes to making pictures.

Both those taking snaps and documentary photographers... have not understood information. What they produce are camera memories, not information, and the better they do it, the more they prove the victory of the camera over the human being.

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

I have produced all my music videos. Love to get behind the camera and get involved in the editing process.

Working in front of the camera keeps me alive.

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.

I like to know where the camera is.

I'd come up with one leg in theater, but never my first leg. I loved the camera too much.

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.

I remember thinking, I want to work for the camera.

I prefer working behind the camera.

I'm sure favorite moments in movies are things that just happen accidentally when the camera is there. You have to do all the homework to get yourself into the period, the costumes, the style, the voice, the hairdo or whatever it is, but once you've done all that work, you have to kind of let it go and just be there. If you're always thinking about it, it just looks a bit over-thought.

You see what you understand, You have to be prepared to see the world. The moment of clicking the camera is almost irrelevant. What is really important is what happens before and after you take the picture.

I'm not used to being in front of a camera as myself. I'm not used to watching myself as myself.

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.

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

Improvisational things about picture-making... learned from working with the small camera early on have served me well in being able to think quickly when making [portraits].

You should always be taking pictures, if not with a camera then with your mind. Memories you capture on purpose are always more vivid than the ones you pick up by accident.

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.

I've always said Thomas Edison invented the movie camera to show people killing and kissing.

There's a kind of power thing about the camera. I mean everyone knows you've got some edge. You're carrying some magic which does something to them. It fixes them in a way.

A style is not a matter of camera angles or fancy footwork, it's an expression, an accurate expression of your particular opinion.

I am always surprised when I watch the weather report on German television. First they show the map of Europe and then the camera moves to the right. Then comes Kiev, then Moscow and then everything stops. This seems to be the West's view of us - of a wild Russia that begins past Moscow, a place one prefers not to see. This is a big mistake. The West must pay closer attention.

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

When it comes to my skin, I take it seriously. Being on camera and doing what I do, it's very important to start with a good base. So finding products that work really well with your skin are important.

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.