Eddie Adams Quotes
I saw a man walk into my camera viewfinder from the left. He took a pistol out of his holster and raised it. I had no idea he would shoot. It was common to hold a pistol to the head of prisoners during questioning. So I prepared to make that picture - the threat, the interrogation. But it didn't happen. The man just pulled a pistol out of his holster, raised it to the VC's head and shot him in the temple. I made a picture at the same time. (On his 1968 photograph of the summary street corner execution of prisoner Nguyen Van Lem by South Vietnam's police chief, Lt. Col. Nguyen Ngoc Loan.)
Quotes to Explore
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The stage and working in front of a camera are two completely different mediums. Each requires different techniques.
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With Altman, he does discuss everything with you, but then leaves you to it and gives you full rein and lets you improvise and create a character while the camera is rolling.
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In the '50s, I was traveling alone all over Mindanao, Basilan, all the way to Tawi-Tawi with just a camera and a notebook. I always stayed in the houses of Moros.
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My first modeling job was Gap, and my first time in front of the camera was for a Soda Pop Girls commercial - it's one of those Bratz dolls, Barbie dolls... one of those.
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The camera introduces us to unconscious optics as does psychoanalysis to unconscious impulses.
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The world just does not fit conveniently into the format of a 35mm camera.
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The camera cannot lie, but it can be an accessory to untruth.
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The second I walk onto the set and I know that there's a camera and I know that there's a David Twohy behind that camera, there is zero pressure. There is just me jumping into a pool called 'Riddick.' It's the most free I am. It's like channeling something.
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A style is not a matter of camera angles or fancy footwork, it's an expression, an accurate expression of your particular opinion.
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My mom hates being on camera. My dad loves it - he eats it up!
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The camera never lies, man. I've learned that. If you allow it, it will see right through you, which is kind of cool.
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My curiosity sustains me for the period of the shoot.
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Fortunately, I've never been very conscious and inhibited of what I have to do. The camera's my soul mate.
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I've been in front of a camera since I was a little girl, and that's the medium I understand.
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If there were teenagers who had a video camera and saw what I did on a daily basis, they'd be bored out of their mind.
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My co-stars call me selfish. They say, 'You are only interested in yourself and what you are only interested is yourself and what you are doing in front of the camera.' I reply, 'I can't help it; it's what got me where I am.'
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The dynamic range of a digital camera is not that much greater than film, particularly if you push the ASA a little bit.
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I come from Venezuela, from the independent film arena, and you work with one camera.
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I told them, 'Don't even think about the camera. It may not even be near you. Just have the party.' And then there's somebody in the middle of them shooting film.
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Anytime I feel my feathers ruffle off of someone else's success, I have to check myself. It's normally fear based or ego related and it's my daily work to let it go and focus on me, because that's the only person I can control and make grow.
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I’m a confident player, I know I can score. I don’t think anyone can guard me consistently off the dribble. But I’m a team player.
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Desperate times make for desperate songs.
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I saw a man walk into my camera viewfinder from the left. He took a pistol out of his holster and raised it. I had no idea he would shoot. It was common to hold a pistol to the head of prisoners during questioning. So I prepared to make that picture - the threat, the interrogation. But it didn't happen. The man just pulled a pistol out of his holster, raised it to the VC's head and shot him in the temple. I made a picture at the same time. (On his 1968 photograph of the summary street corner execution of prisoner Nguyen Van Lem by South Vietnam's police chief, Lt. Col. Nguyen Ngoc Loan.)
