Camera Quotes
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I don't stand behind the camera drooling. Knowing that, the models are more likely to open up and relax.
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I'm a natural behind the camera... My attentions are more toward behind the scenes, more toward creating, producing, and directing what's going on here... When I finally do pop in front of the lens, I'm genuinely glad and relieved to be there.
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I saw a man walk into my camera viewfinder from the left. He took a pistol out of his holster and raised it. I had no idea he would shoot. It was common to hold a pistol to the head of prisoners during questioning. So I prepared to make that picture - the threat, the interrogation. But it didn't happen. The man just pulled a pistol out of his holster, raised it to the VC's head and shot him in the temple. I made a picture at the same time. (On his 1968 photograph of the summary street corner execution of prisoner Nguyen Van Lem by South Vietnam's police chief, Lt. Col. Nguyen Ngoc Loan.)
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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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Our camera does not produce pretty pictures, but exact duplications that, through our renunciation of photographic effects, turn out to be relatively objective. The photo can optically replace its object to a certain degree. This takes on special meaning if the object cannot be preserved.
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I was given a small camera as a wedding gift from a very dear friend. My first pictures were taken on my honeymoon. As soon as I became familiar with the camera, I was intrigued with the possibilities of expression it offered. It was like a discovery for me.
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The similarity between Van Gogh, Haiku poetry, and good photography is the concern for mortality. That things are very fleeting, that there are people who are more sensitive to death than others. The threat of time is of great concern to them. And the camera is a very appropriate instrument for many.
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I never wanted to do on air. Because the fact that you're on air, people take shots at you for no reason, and that made me uncomfortable. So I retreated to the safety and anonymity of behind the camera.
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To live, to experience the world, to communicate with a camera, all these are interrelated and cannot be separated from everyday live.
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I always thought acting was all lights, camera, action. It's a job; you have to do your job correctly.
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My first time acting for camera really was for Steven Spielberg in War Horse. I was trained in theater and I was actually working in theater at the time. I had a small role with the Royal Shakespeare Company, which is a huge prestigious theater company back in England. I honestly thought that was as good as it got.
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The film Wyatt Earp and the Holy Grail was shot on a KODAK Zi8 camera as well as on multiple camera phones. It was processed using the effects of FINAL CUT X and then edited in FINAL CUT 7.
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There's a large percentage of mobile phones that now have a camera that's with you a lot of the time, and there's a lot of interest around those cameras as a data collection mechanism.
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A portrait is not made in the camera but on either side of it.
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I'm always aware of the camera and it feels like that's the audience.
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One is not really a photographer until preoccupation with learning has been outgrown and the camera in his hands is an extension of himself. This is where creativity begins.
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Really good portraiture is a two-way street where someone is throwing little gems out and you're grabbing them. Very few people have a 100 percent fluency in being able to do to do this - this kind of magical reaction with a camera.
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I just think that I'll never have plastic surgery if I'm not in front of the camera. If you make your living selling this thing, which is the way you look, then maybe you do it. But trust me, the minute I'm directing or producing and not starring, I would never even think of it.
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Some people, myself in particular, have an adversarial relationship with the camera, and it sprouts up in every photograph.
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There's this kind of incredibly mistaken idea that because it's so much cheaper to roll the camera than it used to be and it's so much easier to accumulate a ton of footage, that then you can just go shoot a ton of footage and the editor will make sense out of it. But if you don't have something deliberate made, you're not gonna save it in the editing room.
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I love photography. My boyfriend's got a great camera, which I bought for his birthday.
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The helicopter was a U.S. Navy helicopter. There were no civilian helicopters available to film companies, so they just made some stuff out of two-by-four wood. And I would straddle a two-by-four out from the helicopter with a camera and what we call a high hat, which is a low metal stand.
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Stanley Kubrick was brilliant at getting under the audience's skin. He was very interested in the idea of, 'How can I tell this with just a camera?'
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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.
