I spent a lot of years just learning my craft and falling down in front of the camera.
There’s something very scary about exposing yourself on camera, knowing that you’re going to be put on thousands of screens around the world for everyone to judge, but there’s also something very thrilling and exciting about it.
I almost never set out to photograph a landscape, nor do I think of my camera as a means of recording a mountain or an animal unless I absolutely need a ‘record shot’. My first thought is always of light.
It’s hard for me to assess what I brought because each time you pick up a camera and point it at a person, you’re trying to define that person so to talk generally is difficult because I have to think of a given image in order to conjure up what we’re talking about.
TV has the unique opportunity to take musicals, live events, so it has that feeling and excitement and spontaneity, but still has a camera between you and what you are watching.
First, the newcomers are eager to come in front of the camera, and later they are like, ‘No, sorry, sorry, no pictures’. What is this? I say fame is a very dangerous and bitter thing.
Tak Fujimoto and I, when we started getting enough of a budget where we could afford the right lenses – ’cause we started out doing low-budget pictures together – we started experimenting with this subjective camera thing. And we kind of fell in love with the idea of using that as our close-up.
If there were teenagers who had a video camera and saw what I did on a daily basis, they’d be bored out of their mind.
I’m not an artist. I set the camera up and tell my story.
I think eating in itself is the act of great sensuality, so all you have to do is point the camera in the right direction.
Thank you… Apple, for adding a camera to the iPod Nano. Now it’s just like the iPhone except it can’t make calls. So basically, it’s just like the iPhone.
The camera never lies, man. I’ve learned that. If you allow it, it will see right through you, which is kind of cool.
I would not have been comfortable in front of the camera.
My business partner gave me a drone, a small helicopter you pilot with an iPhone, and also it has a camera so you can see what it sees on the iPhone. Great fun. I fly it outside in Portugal. It’s wonderful to oversee gardens.
I believe in living with the camera, and not using the camera.
It was a scene I was really looking forward to, and one that I embraced, and when we were filming it, George got closer and closer and closer with that camera – he was practically up my nose for the final shot. So I knew it was a moment that I had to do my best to get right.
The dynamic range of a digital camera is not that much greater than film, particularly if you push the ASA a little bit.
In terms of Cube I think he’s very conscious of the technical aspect of the business whereas when you’re just hired as an actor, you’re not really secure in that part of your work and you’re not really paying attention to where the camera.
The whole idea is to look at the television camera and present as much love as you possibly could to a person who might feel that he or she needs it.
You have more time to work in movies. My experience with movies is that you have more time to experiment with the character and camera angles and things like that.
I’m the sort of person who takes a camera to dinner or a nightclub because I enjoy taking pictures of people. I tweet all my pictures, which is bad.
Really, voice-over is great. If it paid as much as on camera work, it’s all I’d ever do.
In films, you are a commodity. You are a look, something that the camera really likes, something that has struck an audience in a certain way. It’s not really so much about transforming yourself the way actors do onstage. I think there’s a difference between the skill of acting in movies and onstage.
I always loved Japanese movies. And they had an enormous impact in France – the Nouvelle Vague took so much from them. It taught us how the camera was placed in the centre of the action.
One of the things that I love about voiceover is that it’s a situation where – because you’re not encumbered by being seen – it’s liberating. You’re able to make broad choices that you would never make if you were on camera.
But if an actress asks me my opinion, I would tell her there are a million different designers who make faux fur. If you like that look, wear faux fur. If you’re doing it on the red carpet, you’re doing it for how it looks. Faux fur and real fur look the same on camera.
I can zero in on subtle things because I’m holding the camera.
I don’t like to move the camera that much anyway.
The film camera’s ability to physically move through space, not zoom through space – every time we have a video camera the movement is through zoom; every time we have a film camera it is a physical movement.
I’ve always done theater. I’ve never thought of myself as a comedic actress in any way. ‘Anchorman’ kind of cracked that open. When I got a small part in ‘Anchorman,’ I didn’t know it was possible on camera to improvise. So I was like, ‘What’s happening?’
I was in the movies. I danced, I sang, I learned to work in front of a camera. It was like being in a repertory company.
I’d grab the camera and tell people what to do, and when I was 14, someone told me that it was called directing.
I got five kids, and my oldest is a documentary film maker and camera man, and still photographer.
I try not to put anything political on the forefront of what I’m trying to do creatively. At the same time, I do think it’s wonderful when I hear people say that it’s inspirational that I’m an Indian woman on camera. My life is very diverse, and my friends are a diverse group of people.
When I buy a Nikon camera, I have no tolerance for the instructions. I’m ready to make some mistakes using it and get some bad pictures back until I’ve figured it out for myself.
I love being in front of the camera.
You need a GoPro camera and some fun mounts to capture the chaos.
As long as I have enough money for makeup artists, everything is okay. I feel young and very free. But one day, my face will be too old for the camera.
I design my shots. I walk the rehearsal as the camera and say ‘this is where I want to be… I want this look.
I got a Super 8 camera when I was eight years old, and I just wanted to tell stories – I love telling stories.
It’s the first film that I made where the director was not present under the camera, and it threw me.
I’ve always been interested in the camera and the effects of it – that’s what drew me to film in the first place.
Some cameras are heavier and need to be on tripods. Others are small enough to hide in your pocket. There are places where you don’t want to feel like you are disturbing anything, so I may use a camera like that.
But the moment you use an ordinary camera, you are not seeing the picture, remember, meaning, you had to remember what you’ve taken. Now you could see it of course, with a digital thing, but remember in 1982 you couldn’t.
A model needs to know how to project herself into the camera.
There’s a certain way people are used to seeing nude women, and that’s in a submissive, coy pose, not looking at the camera. And in this poster, I’m looking dead into the camera with no expression on my face. I think it freaks a lot of people out.
My dream concept is that I have a camera and I am trying to photograph what is essentially invisible. And every once in a while I get a glimpse of her and I grab that picture.
I’m comfortable in front of the camera, but I can’t act.
I work primarily for the camera-it’s not something I really talk about a lot, but it’s part of the way I am as a movie actor. The camera is my girl, as it were.
The ’80s were a time of technical wonder in filmmaking; unfortunately, some colleges didn’t integrate their film and theater departments – so you had actors who were afraid of the camera, and directors who couldn’t talk to the actors.
In front of the camera I look and I see visually what I’ve created.
On stage you can get away with a lot more in the sense of emotion and truthfulness. But the camera is the eye of God. It sees everything.
We ended up realizing that’s not an economical way to create creatures, putting people in green leotards and figuring it out later. You can maybe do that if you’re making ‘Avatar,’ but we need to know what the creatures look like before we turn on the camera.
Audrey Hepburn’s face was made for the camera.
I rarely joke unless I’m in front of a camera. It’s not what I am in real life. It’s what I do for a living.
Rabid fans were literally jumping into the camera.
Film and television is just a different technique in terms of how to approach the camera but basically the job is the same; but what you learn as a craft in theater, you can then learn to translate that into any mediums.
When I talk to the camera, mate, it’s not like I’m talking to the camera, I’m talking to you because I want to whip you around and plunk you right there with me.
A lot of actors, they know the camera’s there, and if somebody moves around or makes noise or whatever then they get all distracted, but I pretty much lock in. You can’t distract me too much.
Your camera is the best critic there is. Critics never see as much as the camera does. It is more perceptive than the human eye.
