Camera Quotes
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You can put the camera in places where you may not necessarily be able to put it there if I don't do the stunt. If it's character and it's storytelling, then we do it. We design the things around me. I don't do it just to do a stunt. It's storytelling for me and how I can best bring the audience into the action, bring the audience into the story. And that's how we always look at at.
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The trick is not to become somebody else. You become somebody else when you're in front of a camera or when you're on stage. There are some people who carry it all the time. That, to me, is not acting.
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Get out and make films. There are so many cameras now to suit any budget, so there are no excuses.
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It's very easy with the camera to show the positive side of something.
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Just as a fisherman cannot catch fish unless his line is in the water, a wildlife photographer cannot shoot great wildlife images unless he or she is out there with camera in hand and the knowledge of what to do then the 'magnificent moment' occurs.
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It's pretty intense to have someone the camera looming there when you are singing a song but it's sort of invigorating too.
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I like telling stories, I like movies, and I want to work on films. I think I would feel safer behind the camera.
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The camera is not the instrument. People are always the instrument.
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If I have an idea I want to put in a movie, I know what camera will make that look best, and I have ideas for future projects and stuff I'd like to build for those. I think it's just part of how I work, though.
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The older you get, the farther from the camera you need to be.
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Life is your art. An open, aware heart is your camera. A oneness with your world is your film. Your bright eyes and easy smile is your museum.
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You would never dream of going on to play a scene in front of an audience at least without having rehearsed it. But you do somehow in front of a camera.
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I have a really dry sense of humor. I don't think it's funny when people wink at the camera. That's more of an actor thing, just committing to whatever the thing is.
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When I was a kid, there was no collaboration; it's you with a camera bossing your friends around. But as an adult, filmmaking is all about appreciating the talents of the people you surround yourself with and knowing you could never have made any of these films by yourself.
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Anytime you have to get intimate on camera, it's always a little interesting. You have to trick your brain almost, so that you don't get stage fright or get too much in your head where you're super uncomfortable.
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All the films are hits before you turn the camera on. It's only in the execution that they fail. I've been less than happy with the way a couple of films were edited, but it's a director's prerogative and you gotta go with it.
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When I started, we had just the camera and the person, mostly. And if you wanted to do a dolly shot, particularly working in Chicago where I began, you'd get in the back trunk of a car, and you'd have a friend drive the car, or you'd get in some kid's little wagon that he plays with and have someone pull that for dolly shots.
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They say the camera never lies. It lies every day.
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This uses a lens system, which I have used for years in various different ways, but I've never used it in the context of an interview. This is the very first time that I've done that. It's a lens called The Revolution, so it allowed me to interview Elsa Dorfman and actually operate the camera. Well one of the cameras, because there were four cameras there.
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I've always been involved with all aspects of my careers. Being behind the camera seems as natural as in front.
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Photography is inextricably linked with life; the photographer is not invisibly behind the camera but projecting a life-attitude through the lens to create an interference pattern with the image. Who he is, what he believes, not only becomes important to know intellectually, but also becomes revealed emotionally and visibly through a body of work.
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I really trust the authenticity of real people and my job is to get them to be themselves in front of the camera. Often what happens is, you'll get a newcomer in front of the camera and they'll freeze up or they imitate actors or other performances that they've admired and so they stop becoming themselves. And so my job as the director is just to always return them to what I first saw in them, which was simply an uncensored human being.
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There are a thousand ways to point a camera, but really only one.
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The next time you pick up a camera think of it not as an inflexible and automated robot, but as a flexible instrument which you must understand to properly use. An electronic and optical miracle creates nothing on its own! Whatever beauty and excitement it can represent exist in your mind and spirit to begin with.
