Cameras Quotes
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I love the idea I can go off with a single camera and a few rolls of film unencumbered... I was not interested in the illusion of reality, I wanted to get close to what was happening.
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When gifts are given to me through my camera, I accept them graciously.
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I am intrigued enough to want to continue, and also to try and work with companies like Sony on modifying the cameras and making them more user-friendly and efficient.
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The lowest stress environment is the radio show. I am not on camera and I can let the music do the talking. The rest is more highly pressurized or in the case of writing, time intensive task. I say yes to all of it and like all of it but the radio show, by nature of what it is, is the least hassle.
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Photography is a very subtle thing. You must let the camera take you by the hand, as it were, and lead you into your subject.
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I never knew anyone who came close to Marilyn in natural ability to use both photographer and still camera. She was special in this, and for me there has been no one like her before or after. She has remained the measuring rod by which I have - unconsciously - judged other subjects.
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If a photographer cares about the people before the lens and is compassionate, much is given. It is the photographer, not the camera, that is the instrument.
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The truth is James Cameron can do every other job. I'm talking about every single department, from art direction to props to wardrobe to cameras, he knows more than everyone doing the job. But he can't act. And therefore he is in thrall of actors.
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As a child I had been so afraid of so many things, but as soon as I held a camera in my hand, I began to expose myself to the very things that were foreign to me and that I had always feared.
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I'm not a journalist any more. I don't have to stick a microphone up somebody's nostril and I don't have a camera lens behind my shoulder, I think people talk to me in a much franker way.
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Things like dating, family, and friends are just so valuable to me and I didn't want to put any strain on any of those relationships and you can see how the cameras around people can make people a little bit loopy. I didn't want to bring that into my life.
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History is made and preserved by and for particular classes of people. A camera in some hands can preserve an alternate history.
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Normally, if I'm being acknowledged it is for something in front of the camera. This puts the spotlight on the fact that there are opportunities other than just being an actor.
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I loved photography but was frustrated by the limitations of cameras. When trying to take a picture of a friend's young, active daughter using my DSLR, it was impossible to capture the fleeting moments.
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Should there be cameras everywhere in outdoor streets? My personal view is having cameras in inner cities is a very good thing. In the case of London, petty crime has gone down. They catch terrorists because of it. And if something really bad happens, most of the time you can figure out who did it.
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I think it's good for an actor to bounce between stuff on camera and stuff in theatre. If I could do half and half every year I would be a very, very happy man.
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The camera eye is the one in the middle of our forehead, combining how we see with what there is to be seen.
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Things are going to happen whether you are there or not, you still need someone to push the button on the camera and get it and know it's going to work of the story.
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Even with cameras being very cheap, one thing that researchers noticed was that you look really bad in a videoconference image because the lighting is bad and you get shadows and things.
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The whole thrust in my life right now is spinning my assignments around and making them work in a more personal way (...) I wanted to go back and do the original thing: one camera, one lens, one film. You really have to put yourself in a position of danger to be creative.
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I think [indications of vulnerability are] why so many portraits work when they're difficult: we believe we're presenting ourselves one way, but the camera always reveals something more vulnerable, despite our best efforts.
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Every time the diaphragm winks, the camera repeats the question that now travels through cyberspace and invades, as a modern virus, the memories of machines, men and women. The question that history sets forth. The question which forces us to define ourselves and whose answer makes us human: On which side are you?
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When I made my first film, I think the thing was probably helped me the most was that it was such an unusual thing to do in the early 50s for someone who actually go and make a film. People thought it was impossible. It really is terribly easy. All anybody needs is a camera, a tape recorder, and some imagination.
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Being behind a camera, in front of the camera, is my own little deconstructionist niche.
