Camera Quotes
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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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Only the camera seems to be really capable of describing modern life.
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There's always going to be that pressure when you're in front of the camera. When you're famous it's just an extreme version of reality and there's a pressure to look a certain way.
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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 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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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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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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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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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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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 like the smell of film. I just like knowing there's film going through the camera.
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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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Realism and superrealism are what I'm after. This world is full of things the eye doesn't see. The camera can see more, and often 10 times better.
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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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The angry mob of villagers wield camera phones, the twenty-first century equivalent of pitchforks and flaming torches.
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On my show you always take the far camera. I get the front one. Remember that.
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I do have a concern about projecting. I've never projected or had any reason to project before. In fact, the camera has only gotten closer to me going from TV to film.
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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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Suddenly this camera, this thing, allowed me to move around the world in a certain kind of way, with a certain kind of purpose. (On receiving a camera for her twenty-first 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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Any time you do opposing camera angles, there's gonna be some compromise in the lighting.
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The camera has an interest in turning history into spectacle, but none in reversing the process. At best, the picture leaves a vague blur in the observer's mind; strong enough to send him into battle perhaps, but not to have him understand why he is going.
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I know of few actresses who have this incredible talent for communicating with a camera lens. She would try to seduce a camera as if it were a human being.
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A portrait is not made in the camera but on either side of it.
