Camera Quotes
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Karl Malden was quite a mentor. He taught me things he had learned from being in front of a camera so long.
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Yeah, I kind of grew up in front of the camera: I started modeling when I was two.
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What you think is fake in your head comes off as not enough on camera, a lot of times. You almost have to overdo it, in this overly, sort of Broadway, large-gestures kind of way to come off as being realistic on camera. It's strange. You almost have to act really fake to come off looking real.
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When I first got signed, I bought a vintage guitar from the 1930s for £1000. I've bought a £400 SLR camera, too, which was quite extravagant.
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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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The camera introduces us to unconscious optics as does psychoanalysis to unconscious impulses.
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I put down the camera long ago, you know? I was here in London, aged 19, and I was obsessed with my camera, shooting everything I could. Then someone stole it. It helped me to see things for the first time.
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I've wanted to do some sort of acting stuff down the line, but modeling is a good way to get comfortable in front of the camera.
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Whereas if you have a camera in the courtroom, there's no filtering. What you see is what's there.
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I spent every day just praying that I didn't look like a big dork on camera.
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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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I make the woman look at the camera as a symbol of all the eyes that will see the picture I am making.
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I am the same on camera as I am off. I can't imagine being any other way.
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I don't like, and I've never been very good at, close-up shots. As soon as you have the camera right there in front of you, it feels like you're in a different reality from the person you are acting with; you lose any real connection with them.
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Cinematography is so much about instinct and intuition - you want the same range of experience going into behind the camera as what you see in front of it. Your life experience will come through the lens.
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So here, for example, on a very bright sunny day, the camera was able to capture the detail on the blouse, despite how strong the sunlight was.
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I got five kids, and my oldest is a documentary film maker and camera man, and still photographer.
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It is totally different making films in the East than in the West. In the East, I make my own Jackie Chan films, and it's like my family. Sometimes I pick up the camera because I choreograph all the fighting scenes, even when I'm not fighting. I don't have my own chair. I just sit on the set with everybody.
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Look and think before opening the shutter. The heart and mind are the true lens of the camera.
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The reality in which a camera turns up is always posed, e.g., the moon landing.
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I've always been intimidated by the technicalities of taking photos, especially with a film camera - not just a point and shoot.
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With the camera, it's all or nothing. You either get what you're after at once, or what you do has to be worthless. I don't think the essence of photography has the hand in it so much. The essence is done very quietly with a flash of the mind, and with a machine. I think too that photography is editing, editing after the taking. After knowing what to take, you have to do the editing.
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I can zero in on subtle things because I'm holding the camera.
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Hitchcock makes it very clear to us. There's an objective and a subjective camera, like there's a third- and a first-person narrator in literature.
