Camera Quotes
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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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Some people, myself in particular, have an adversarial relationship with the camera, and it sprouts up in every photograph.
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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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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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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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The modern world is not given to uncritical admiration. It expects its idols to have feet of clay and can be reasonably sure that the press and camera will report their exact dimensions.
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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 don’t have a philosophy. I have a camera.
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The camera is the eye of history.
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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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A portrait is not made in the camera but on either side of it.
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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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Every photograph that is made whether by one who considers himself a professional, or by the tourist who points his snapshot camera and pushes a button, is a response to the exterior world, to something perceived outside himself by the person who operates the camera.
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People were murdered for the camera; and some photographers and a television camera crew departed without taking a picture in the hope that in the absence of cameramen acts might not be committed. Others felt that the mob was beyond appeal to mercy. They stayed and won Pulitzer Prizes. Were they right?
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I'm always aware of the camera and it feels like that's the audience.
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The camera is the instrument that brings the inner passion and the outward event into harmony with one another, this linking, or, rather, this coincidence, is successfully brought about, then we find one of the things that no image-making medium can accomplish to the same degree.
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Human vision is untrustworthy, subjective and selective. Camera vision is total and non - objective.
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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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On screen, we have to pretend we hate each other, or dislike each other, or don't want to talk or listen to each other, but off camera, it's just one big happy family. We hang out off the show and we play cards together and go have dinner together.
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The candid camera is the greatest liar in the photographic family.... It is anarchic, naive, and superficial.
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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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The head of the photographer is more important than his camera.
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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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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.
