Quotes About Camera

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.

While working with a camera crew supervising flight testing of advanced aircraft at Edward's Air Force Base, California, the camera crew filmed the landing of a strange disc object that flew in over their heads and landed on a dry lake nearby. A camera crewman approached the saucer, it rose up above the area and flew off at a speed faster than any known aircraft.

The camera course was a bit crap. But when I was in drama school, I wasn't interested. I wanted to be a stage actress. I was not interested in learning camera craft. But then you throw yourself in the deep end when you do get a job in front of the camera because you have absolutely no idea what you're doing, and it is a skill.

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 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.

For me, what was important was to record everything I saw around me, and to do this as methodically as possible. In these circumstances a good photograph is a picture that comes as close as possible to reality. But the camera never manages to record what your eyes see, or what you feel at the moment. The camera always creates a new reality.

Being behind the camera you have control; you have the ability to make decisions for characters, for where the story line's going to go, how you want to put it out there, how you want to edit it. Acting is like where you paint on the canvas, and being behind the camera is like being either the paint or the paintbrush. They're both a part of the creative process, it's just that they have two different functions.

How I wished I'd have had a camera of my own, a mad mental camera that could register pictorial shots, of the photographic artist himself prowling about for his ultimate shot - an epic in itself. (On the road with Robert Frank, 1958)

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.

When I first started, I would go to Weist-Barron, and I studied with Rita Litton and ACTeen. For teenagers, it's a really, really great school. We did a lot of on-camera stuff, so you see yourself and what you do on camera.

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.

So the thing that's beautiful about the Rolleiflex is that I open the camera up from the top and put my face in and that the camera's all about composition and all about light.

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.

Sometimes people don't rehearse at all, but you might have had a chance to rehearse for a few days, or even more than that. Then in the moment when the camera's running is the only time it matters. So whatever you've discussed or thought about or discussed with the director, the other actors, hopefully there's a part of the experience that you've left open so that only in that moment the camera catches it. That's of course the hardest thing to do because everything is planned and you have thought about it in advance.

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.

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.

The difference between a regular camera and a 3D camera, for an actor, is really no different except that the turn-arounds are longer. It takes a lot longer to set up a shot because the cinematographer is really trying to set up a whole world, so it can't be more intricate and more beautiful to the viewers, in 3D.

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!

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.

Every photograph is a realization of one of the possibilities contained within the program of the camera. The number of such possibilities is large, but it is nevertheless finite. It is the sum of all those photographs that can be taken by a camera.

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 love the camera; there's something very special and sensual about it, and I have a tendency to call it a he, like it was a man. But, unlike a man, a camera is accepting of everything I do.

I am very proud of my husband, both behind the camera and in front of the camera.

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 don't like to be in front of the camera - my place is behind the camera.

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.

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.

When I'm on camera, I have to do things pretty much the way I do things in everyday life. It gives the audience someone real to identify with.

In silent movies, they tended to put the camera down, and everybody walked in front of it and acted, and then they all walked off. Cutting was quite infrequent.

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

You have to think of each stage of the movie and how it progresses, get into the state of mind of the character, and then match the camera to that, and keep making it tighter and tighter and crazier and crazier so people don't get bored. You know you cannot do a similar shot that you did at the beginning of the movie at the end.

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.

In the the late seventies and early eighties, I played background roles in thirty movies... Woody Allen movies, Scorsese films, you name it. Whatever was being shot in New York, I was doing stand-in and background work because I wanted to be close to the camera; I wanted to see what was going on.

When the camera starts to roll, there is something of death about it.

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.

In my childhood I was obsessed with cameras but could not afford one. After much persuasion my father Harivansh Rai Bachchan bought me a box camera which I treasured for years. Initially I clicked trees and nature and as I grew up started noticing prettier things-motorbike, sleek cars and cool girls. But the hamartia of life is when you desire something you cannot afford it and when you are able to afford it you are too old to use it. Now I don't need all gadgets but it's satisfying to know that at least I can afford them.

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.

Animators do amazing working translating and interpolating the characters [in the Planet of the apes], the facial performances. What we're creating on set - if you don't get it on the day, in the moment, on set, in front of the camera, with the director and the actors. The emotional content of the scene and the acting choices.

I was molded, spent my time underneath a lot of goo. And then the bits and pieces were sculpted. It took probably 10 days to create each character after all those camera tests.

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

I really did feel like I was surrounded by family members. I didn't have a dad, and I remember there were all these guys - in the old days, there were no women, except a makeup artist or, occasionally, a script supervisor. So there were just guys who taught me how to, you know, whittle wood, or how to pull focus, and what the camera was doing. And if I was being bratty, they'd sit me down and tell me. There were lots of rules about not being late and making sure that you didn't spill anything. So it felt a little bit like I was in a family.

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

I love it, to have the same crew. I'm not married. I don't have children. My 17-year-old dog died. I'm kind of on my own. So I really like having the same camera guy for four years. I love looking around and seeing the hair and makeup people who have been there from the beginning.

If life were a camera, I'd have the lens cap on.

If in all ideology men and their circumstances appear upside-down as in a camera obscura, this phenomenon arises just as much from their historical life-process as the inversion of objects on the retina does from the physical life-process.

My aim in photography is always to convey a mood and not to impart local information. This is not an easy matter, for the camera if left to its own devices will simply impart local information to the exclusiveness of everything else.

The biggest battle for a lot of people who come out of the theater, which is where I was trained, is that they can never forget that a camera is pointed at them.