Quotes About Camera

I want to be the person who eventually doesn't have to be in front of the camera. I can be behind the camera and really change things cinematically, and this is giving me an opportunity to do something behind the camera, which I really want to maximize.

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.

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.

Marilyn Monroe gave more to the still camera than any actress, any woman I've ever photographed; infinitely more patient, more demanding of herself and more comfortable in front of the camera than away from it.

I was always in front of the camera. My mom was really passionate about photography - I have pictures of my whole life. I've always just been in front of my mom's camera and it's always comfortable to me.

A man with a camera was always suspected of being a spy. Moreover, the Jews did not want to be photographed, due to a misunderstanding of the prohibition against making graven images (photography had not been invented when the Torah was written!). I was forced to use a hidden camera.

I also know what looks good before the camera, how to move the camera, and how to get a story on the screen.

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.

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 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.

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 got a unicorn horn on my head once. I said, "Can you really see that on camera?" My producer said, "You can see it from space." I would have to angle my head a certain way so that I didn't look misshapen on camera.

There was actually a camera on your face. I don't know so much about the animation process but the camera was in our face so it could get expressions from our faces that would eventually arrive on the gnomes. It almost felt like you were cheating at times because it was a wee bit too much fun. You were in that box on your own. Kelly [Asbury] was in Toronto, I was in LA, so I was just on my own. I thought: "I can't be getting paid for this as well!"

And as an actor, just working with someone as seasoned and professional and kind as Richard Jenkins, it's always a learning experience watching him - on camera and off camera, just soaking it all up.

When I first asked to take pictures of women at their homes, I was using my formal camera and I struggled to get the shots because I was still very much in the role of the photographer. Then the next time I had this little digital camera and their response to me would be completely different - I was a friend and I got new kinds of pictures. I was always treading a line between photographer and friend.

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.

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?

When I put the camera back to my eye, I noticed a particular guardsman pointing at me. I said, "I'll get a picture of this," and his rifle went off. And almost simultaneously, as his rifle went off, a halo of dust came off a sculpture next to me, and the bullet lodged in a tree. I dropped my camera in the realization that it was live ammunition. I don't know what gave me the combination of innocence and stupidity... but I never took cover.

I think from an early age I was aware of how a camera can tell a story, how a movie camera can affect how the narrative is told.

If I want a small take-everywhere camera, I prefer my iPhone 5, which has colors and tonal range superior to any DSLR or compact digital camera I've ever used at their default settings.

The film [ Wyatt Earp and the Holy Grail] was shot on a KODAK Zi8 camera as well as on multiple camera phones. It was processed using the effects of FINAL CUT X and then edited in FINAL CUT 7.

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.

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

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.

Youll never see a good performance out of me, in terms of a character, when the camera isnt rolling.

I do have a concern about projecting. I've never projected or had any reason to project before. In fact, the camera has only gotten closer to me going from TV to film.

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.

Kevin Costner has feathers in his hair and feathers in his head. The Indians should have called him 'Plays with 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'm gay. It feels so weird saying it on camera!

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

With film, you have very limited tools to convey subjectivity - voiceover, the camera's point of view, good acting - but even the very best actor in the world is crude by comparison with what you can do in a written paragraph.

I worked on 'Sarah Connor' even longer than 'Firefly.' And I always remembered how generous everyone was to me when I didn't know what to do, and I didn't know the rules, and I didn't know camera angles, and I didn't know lighting.

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.

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.

In my hand luggage I always have my camera, iPod, make-up bag, tooth brush, cleansing products, clean underwear, socks and a change of clothes in case anything goes missing at the other end - and of course my passport.

We changed our rules. If a player does not have some sot of altercation on or off the court once each month, we fine him...The guys that are our top four scorers, each of them will be required once every two months to appear on MTV. The guys who shoot the worst free throws over a one-month period, next time we have a TV game they're required to look into the camera and beat their chests after they make a good play.

Actors make bad lovers. Their most important kiss is for the camera. Not in a superficial way, in a really deep way. They can only give everything if they know someone is going to shout cut!

There's something very scary about exposing yourself on camera, knowing that you're going to be put on thousands of screens around the world for everyone to judge, but there's also something very thrilling and exciting about it.

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.

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.

The fact that there aren't an abundance of African-American males that are getting lead roles [and] that are getting roles that have prominence on the big screen. [It's] the same thing from behind the camera; maybe even worse. Coming up, when you're black and you want to direct somebody says, "Oh, you're Spike Lee" or "You're John Singleton."

You don’t have to say that nature is aware of your existence, that God knows you are here. The camera gives you proof that you have lived at least once.

It's very disconcerting to have a camera shoved in your face. It's really discombobulating. If you're the least bit nervous you forget what you just said, you can't find your way through, you can't follow the logic of your own statements sometimes. It's a weird sensation. And I think that really helps to lock people in place.

With a camera like that you don't believe you're in the masterpiece business. It's enough to be able to peck at the world.