Quotes About Camera

The camera is one of the most frightening of modern weapons, particularly to people who have been in warfare, who have been bombed and shelled for at the back of a bombing run is invariably a photograph. In the back of ruined towns, and cities, and factories, there is aerial mapping, or spy mapping, usually with a camera. Therefore the camera is a feared instrument, and a man with a camera is suspected and watched wherever he goes... In the minds of most people today the camera is the forerunner of destruction, and it is suspected, and rightly so.

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.

Film, television, and working with a camera is such an intimate art form that if a camera is right on you, and I've got your face filling the screen, you have to be real. If you do anything that is fake, you're not going to get away with it, because the camera is right there, and the story is being told in a very real way.

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.

I look very different on camera compared with how I do in real life. On camera, I look my best when everything is enhanced, especially my eyes - I like a smoky eye. In real life, I like myself best in tinted moisturiser, lip balm and mascara.

I hope we'll be able to see that in our lifetime: the end of the camera! When I'm in Paris, I'll buy a big bottle of champagne and I'll save it for that day, for the day when they'll be no more camera.

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.

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.

I don't like people who are hypocritical, who pretend to be nice, particularly in show business when they're nice on camera, and then off camera they're absolutely appalling to the makeup people, or the waitress in a restaurant, you know? I don't like - I can't bear those kind of people. So I like people who are, you know, up front in your face.

I am semi-ambivalent about being on camera - sort of low-key. I don't like being on camera stuff that much. I like radio and live performing stuff. I don't like the television stuff as much. Some people do. It takes a certain breed of cat. There is a ton of pressure and you need to read cue cards. I am not a good cue card reader. Being a poor reader was enough to make me not want to do that type of formatted show.

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.

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.

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.

Shame works like the zoom lens on a camera. When we are feeling shame, the camera is zoomed in tight and all we see is our flawed selves, alone and struggling.(page 68)

Most people assume because I'm an actor that's all I know about and care about, I'm actually a camera geek and a film geek. I grew up making short films the same time I was acting. For me, it's a motion picture, not a play. I'm just as interested in what the camera department is doing and world building through costume design and production design as I am in acting. I think all good directors do that whether they're an actor or not.

When I was 19, I picked up an old, tiny, automatic Yashica camera and I just started shooting. We didn't have iPhones back then, we didn't even have cell phones. I loved having a camera in my hand.

Screen work always boils down to that moment between the camera and the actor or the actors. It always boils down to that, ultimately. You serve the camera.

In case you haven't heard, my girlfriends and I have declared the summer of 2012 as the best summer ever. The best way to document said 'best summer ever' is with a good ol' disposable camera. Smile, click, move on! Nobody gets pic approval, and there's no time wasted gathering around the camera to analyze a moment that just happened.

With film acting, and often when the camera comes very close, you just have to think about something and the camera will pick it up.

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.

Alan Rickman was such a terrific actor, and that was such a terrific character that he played. And it was a joy to be with him. We used to laugh together because we ran out of reaction shots. They were always - when everything had been done and the children were finished, they would turn the camera around and we'd have to do various reaction shots of amazement or sadness and things. We used to say we'd got to about number 200-and-something and we'd run out of knowing what to do when the camera came around on us. But he was a joy.

The only thing which completely was an amazement to me and brought me to photography was the work of Munkacsi. When I saw the photograph of Munkacsi of the black kids running in a wave, I couldn't believe such a thing could be caught with the camera. I said, 'Damn it', I took my camera and went out into the street.

[on making the transition from the comedy "Mary Tyler Moore" (1970) to its dramatic spin-off series "Lou Grant" (1977)] We were really worried about changing over from a three-camera, half-hour comedy to a one-camera, full-hour drama. The audience wasn't ready for the switch - even CBS billed us in their promos as a comedy. In fact, the whole thing was impossible. But we didn't know that.

There's a subtleness to camera work. You can really create intimate moments on camera and sometimes that requires a little more precision from an actor, because you have to pull people in as opposed to throwing it to them.

This is how you can tell a real photographer: mostly, a real photographer does not say 'I wish I had my camera on me right now'. Instead a real photographer pulls out her camera and takes the photograph.

In the early days of my child labor activities I was an investigator with a camera attachment... but the emphasis became reversed until the camera stole the whole show.

This is the funny thing about Skype. No one is really looking into the camera. People always looking down because they're looking at the image. You wish the camera was there in the center.

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

I don't stand behind the camera drooling. Knowing that, the models are more likely to open up and relax.

If I didn't follow my passion for surfing... I would have never come up with the concept to make a wrist camera.

You can start a documentary with just a camera, as opposed to a fiction film where you need actors, a crew, a script, a lot more start-up resources. It may be self-perpetuating.

Sometimes the presence of a camera is like opening a door.

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

It's hard to put yourself in front of a camera, in front of the world, when you don't feel like you look the part. I've always had that problem. But I deal with it every day. When I'm interviewing, I'm like, "How do I look? Do I look all right?"

I had gotten rid of the crying when I got to high school, though it happened again when I was a junior. We lost in the state championship. It was kind of the same situation, camera in my face, and then that's when I realized it was over I had my moment.

I never go to a gym unless I have to for a role, a contract. I try to take care of myself as a human being, not because I have to be in front of the camera.

I like the smell of film. I just like knowing there's film going through the camera.

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.

When you grow up on camera and in the public eye, you feel you have to put forth this image. I just took that to the extreme and there was a lot of pressure on me

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.

The most important piece of equipment after the camera is a good pair of shoes.

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 went to USC and tried to learn about the other side of the camera a little bit.

Being an artist, I had an artist's instincts.You can see the picture before it's taken; then it's up to you to get the camera to see

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

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.

I realized the exciting place was behind the camera with the producer, director and so on.