Camera Quotes
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I think what's exciting about doing it as found footage - if we all are being honest, found footage gets a little bit of a bad rap sometimes, but I think that there's a lot of potential in the medium in taking it seriously and in treating the audience with respect and in treating the characters with respect in terms of, why is the camera really on? Where would the camera be when it is on?
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There in front of me was the Senator on the floor being held by the busboy. There was nobody else around, and I made my first frame, and I forgot to focus the camera. The second frame was a little more in focus... then just for a second, while everything was open, the busboy looked up, and he had this look in his eye. I made that picture, and then suddenly the whole situation closed in again. And it became bedlam.(On the 1968 shooting of U.S. presidential candidate Bobby Kennedy.)
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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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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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Pictures are much harder to do than the theater... You're at the mercy of the camera angles and the piecemeal technique.
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Any time you do opposing camera angles, there's gonna be some compromise in the lighting.
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A portrait is not made in the camera but on either side of it.
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Over the past 10 years of being famous, my relationship with the camera has not been a pleasant one.
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I have definitely been curious and involved in the process; even as a young actor. I was always looking at where the camera was, what story it was telling. And as my experience grew, I wanted to know even more.
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Here's the beauty of a camera: you don't have to come up with words for what you're looking at... Maybe another angle is needed sometimes. When we're burned out from writing, we can photograph or draw, look at the world in a different way, and photographers could try writing what they see.
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I consciously did away with fade-ins and replaced them with the cut. Henceforth, I never used such editing techniques again. In fact, neither dissolve, fade-in nor fade-out can be regarded as 'the grammar of film,' they are no more than characteristics of the camera.
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I don’t have a philosophy. I have a camera.
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An hour later my porpoises are back. Two of them start spinning in the air like corkscrews. I rush to get the camera, stowed in its locker—too late; they are leaving already. I am as disgusted as if I had dropped an anchor without shackling it to its chain. After missing the terrific shot of the barracuda catching the flying fish in mid-air, I had sworn to leave the Beaulieu in the cockpit during fair weather, all set to go, with a cloth to protect it from the sun. But that is not enough. I am starting to realize that I too need to be protected from the camera. In the beginning, I thought that you just set the lens and released the shutter. It is not like that at all. You have to give the camera something more. And now it is trying to suck my blood. It would be easy to stuff the camera in a waterproof tank and forget it exists, but it is too late—and in any case I am not sorry.
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I've been around Hollywood and filmmaking long enough to know that it's a tricky dangerous business when you go on camera, you got to watch yourself.
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You can assume all photo and video is constructed as a fiction controlled by the person holding the camera and the person who is editing.
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I like the smell of film. I just like knowing there's film going through the camera.
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Why should not the camera artist break away from the worn out conventions... and claim the freedom of expression which any art must have to be alive
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I love photography. My boyfriend's got a great camera, which I bought for his birthday.
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She claimed she loved the camera, its warmth, its familiarity. She responded to its naked glare, its slavish attention to every expression of her face and body, with the kind of immediacy a trusted lover could expect.
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I don't necessarily believe in the ideology of cinema verité. I think by the very fact that you have a camera there you are affecting the story and you are influencing it.
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On my show you always take the far camera. I get the front one. Remember that.
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It's a little strange, after all these years of working on camera, but once you start to watch the other people who do this a lot and realize how much of what you're doing has to just come through your voice, I found it really interesting.
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You know, the Chinese don't like to be photographed because they believe that a part of their life is being taken away by the photographer. And in a way, they're right. The photographer is trying to get the prettiest moment of a life in his camera.
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Stress is real, and you never know what a person is going through behind the camera.
