Camera Quotes
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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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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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The candid camera is the greatest liar in the photographic family.... It is anarchic, naive, and superficial.
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I love photography. My boyfriend's got a great camera, which I bought for his birthday.
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If you ever see me getting beaten by the police, put down the video camera and come help me.
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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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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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I found it liberating to sing on camera. On stage, you have to indicate having a thought, and the word you are singing must indicate it as well, but on camera, you can have ideas, you can take in all the stimuli that the character would be taking in, there's a freedom you get, and you don't have the obligation to transmit each idea to the back of the house. It felt so much closer to reality for me.
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It's difficult, if not impossible, to get away with anything false before the camera. That instrument penetrates the husk of the actor; it reveals what's truly happening - if anything, if nothing. A close-up demands absolute truth. It's a severe and awesome truth.
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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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The camera lies all the time -- lies 24 times/second.
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You can always feel the cool whisper of surveillance when the film hits your flesh, the eye of the camera or simply the camera eye . . . faces of passersby, clientele, unpaid extras change completely as soon as they’re no longer observed.
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When you're so used to operating the camera, it's an extension of your eye and your heart and your head.
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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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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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The artist of today is more than an improved camera, he is more complex, richer, and wider. He is a creature on the earth and a creature within the whole, that is, a creature on a star among stars.
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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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Stress is real, and you never know what a person is going through behind the camera.
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The angry mob of villagers wield camera phones, the twenty-first century equivalent of pitchforks and flaming torches.
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I'm quite comfortable looking at myself in movies, probably because I've been doing it for so long, since I was a kid. So I sort of watched myself grow up and go through adolescence, like, basically on camera.
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What I'm trying to do is make the camera-work lyrical rather than fragmentary. It's a dance between the camera and the actors.
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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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With voice overs... you're not thinking about the camera. So your voice becomes this thing that you can manipulate. And depending on the character you're doing, it's all concentration on your voice.
