Camera Quotes
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I consciously did away with fade-ins and replaced them with the cut. Henceforth, I never used such editing techniques again. In fact, neither dissolve, fade-in nor fade-out can be regarded as 'the grammar of film,' they are no more than characteristics of the camera.
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The camera lies all the time -- lies 24 times/second.
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Here's the beauty of a camera: you don't have to come up with words for what you're looking at... Maybe another angle is needed sometimes. When we're burned out from writing, we can photograph or draw, look at the world in a different way, and photographers could try writing what they see.
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There is no excuse these days for someone who wants to make movies; you just need yourself, one tape and a borrowed camera.
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The director can't do your job for you. He can't get in front of the camera and perform your part.
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I remember when someone told me phones were going to have cameras on them, and I thought that was the dumbest idea I'd ever heard. Why would you want a camera on your phone? But as we see the impact of it, it has allowed for a mass verification of what black people have been saying.
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You know, the Chinese don't like to be photographed because they believe that a part of their life is being taken away by the photographer. And in a way, they're right. The photographer is trying to get the prettiest moment of a life in his camera.
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Push your level of understanding so that you know your camera so well that you can frame within a fraction of an inch of the edge of the border, truly compose it how you want it and shoot it.
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The angry mob of villagers wield camera phones, the twenty-first century equivalent of pitchforks and flaming torches.
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What I'm trying to do is make the camera-work lyrical rather than fragmentary. It's a dance between the camera and the actors.
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Stress is real, and you never know what a person is going through behind the camera.
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I'm quite comfortable looking at myself in movies, probably because I've been doing it for so long, since I was a kid. So I sort of watched myself grow up and go through adolescence, like, basically on camera.
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The camera for an artist is just another tool. It is no more mechanical than a violin if you analyze it. Beyond the rudiments, it is up to the artist to create art, not the camera.
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An autograph is actually refreshing because everyone has cameras now and wants a selfie. That's why I carry signed headshots with me, to give out.
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You can always feel the cool whisper of surveillance when the film hits your flesh, the eye of the camera or simply the camera eye . . . faces of passersby, clientele, unpaid extras change completely as soon as they’re no longer observed.
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There's always going to be that pressure when you're in front of the camera. When you're famous it's just an extreme version of reality and there's a pressure to look a certain way.
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The artist of today is more than an improved camera, he is more complex, richer, and wider. He is a creature on the earth and a creature within the whole, that is, a creature on a star among stars.
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She claimed she loved the camera, its warmth, its familiarity. She responded to its naked glare, its slavish attention to every expression of her face and body, with the kind of immediacy a trusted lover could expect.
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I don't necessarily believe in the ideology of cinema verité. I think by the very fact that you have a camera there you are affecting the story and you are influencing it.
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Being in front of the camera is a lot of hard work, and I'm not cut out for it.
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It's a little strange, after all these years of working on camera, but once you start to watch the other people who do this a lot and realize how much of what you're doing has to just come through your voice, I found it really interesting.
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It's difficult, if not impossible, to get away with anything false before the camera. That instrument penetrates the husk of the actor; it reveals what's truly happening - if anything, if nothing. A close-up demands absolute truth. It's a severe and awesome truth.
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I chose to be a photographer twenty-two years ago, but I don't know that I'd make that choice again. Back in the early eighties, I still thought I was doing okay, trying to order and shape the world with my camera. Now that I know a bit more about living and dying, about our planet and its complex problems, I'm a lot less comfortable with my images of people. Still, I haven't a clue what else to do.
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Realism and superrealism are what I'm after. This world is full of things the eye doesn't see. The camera can see more, and often 10 times better.
