Camera Quotes
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The whole time I was in front of the camera, I was thinking of the artist. A fellow creator who had poured her soul into something truly remarkable that might simply be ignored by the whole world. I was trying to get in her head. I was trying to figure out why she had created this thing and, in the same breath, calling out the world for its callous ignorance of beauty and form... I wanted people to wae up and spend a few moments looking at the exceptional amazement of human creation.
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To the oft-asked question, What camera or lens do you use? I can only reply I couldn't tell to save my soul - it is enough for me to know that I have something that will make pictures and that it is in working order.
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A digital camera has to be kept in check like a racehorse.
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No one knows who I am and no-one cares. I could jump in front of a camera man and he'd just tell me to get out of the way.
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No one forgets the presence of the camera, no matter how long it's there.
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If you can show something as complicated as two people falling in love with just music and camera angles, well, just think about what you can do with football.
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Being in front of the camera was like coming home. The first time I saw myself on the big screen, it was in a trailer for 'The New Guy', and I just started screaming.
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It's hard any time people are sitting down and looking at you across a camera and saying, "I believe that you guys will tell my story faithfully." That's getting to the core principle of being a journalist or a documentarian where people trust you with their stories.
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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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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.
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Sitcoms are like summer stock. You put it up in three days, and then you do it in front of an audience, so it's a really great transition from theatre into camera work.
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I knew from early on I would go to film school and try to work behind the camera.
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In Virginia Woolf I had a thing which the grips called the paraplegic which was a wheelchair thing that I had made up years before where I could stand on this bicycle-like device and be pushed down the hall, and then step off it with a handheld camera.
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Both my kids are way too comfortable in front of the camera.
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So when I got the chance to do my first talk show, 50 years ago last month, I never had any writers. There was no budget - it was just me and the camera and my friend who was the director. I talked about what I'd done that week.
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In my years of acting, the one thing I was never able to do convincingly was to laugh on camera. Fake-laugh.
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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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My first time in front of a camera, I said, 'Wonder Woman, I'm so glad you're here.' That's how I made a living.
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Once you learn how to free up in front of the camera, it's like nothing else.
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I had no choice. It was just something that happened. I was always looking for ways to act out, and I got a camera and it acted out for me.
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Trying to get over to the 'on camera' side of things has been hard work.
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People think a big camera and big lighting will make art, and I want to break that rule. If you have a great concept, it can be art.
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Photography has fooled the world. There's no more convincing fraud. Its images are nothing but the expression of the invisible man working behind the camera. They are not reality, they form part of the language of culture.
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With voice overs... you're not thinking about the camera. So your voice becomes this thing that you can manipulate. And depending on the character you're doing, it's all concentration on your voice.
