It occured to me the other day that I’ve made out with more people on camera than I have in real life!
There’s something inimical about the camera and song.
I made a big mistake with him the first day I shot. We’re shooting the scene where I come back from the party, the dance, in the sleigh with Julie Christie and we turn the corner and go past the camera and the camera follows us just a little bit and we disappear.
I’ll tell you, in making film, especially when you’re an actress, you’re always worried about how you look on film, how they light you, always working with your camera people to be at your best, with the expectations of our culture that you always look perfect and beautiful and whatever.
When I was fifteen years old, my dad won a video camera in a corporate golf tournament. I snatched it from his closet and began filming skateboard videos with my friends.
I can’t remember exactly how old I was when my parents gave me my first camera, but it was a Canon, and I was certainly far too young to have such a good camera.
Pick up a camera. Shoot something. No matter how small, no matter how cheesy, no matter whether your friends and your sister star in it. Put your name on it as director. Now you’re a director. Everything after that you’re just negotiating your budget and your fee.
Perhaps it sounds ridiculous, but the best thing that young filmmakers should do is to get hold of a camera and some film and make a movie of any kind at all.
When I’m acting, I’m two beings. There’s the one monitoring the distance between myself and the camera, making sure I hit my marks, and there is the one driven by this inner fire, this delicious fear.
At my Rolling Stones’ tour, the camera was a protection. I used it in a Zen way.
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.
When I got cast in ‘Rocky IV,’ I had never seen a film camera before. And here I was in this boxing movie.
A lot of people would be embarrassed to admit that they were on ‘Barney’, but I embrace the fact. I just had such a wonderful time doing that show. I learned what a camera and prop is, and all that. I learned my manners too, so I guess that’s a good thing!
One thing I hate in movies is when the camera starts circling around the characters. I find that totally fake.
I grew up in the business since I was three years old so I’ve always kind of been in front of the camera and grew up in commercials and I knew that I wanted to do it no matter what, I just loved it.
There is technique to it-he is just standing there flexing his arm, and I am standing there making faces as if I am being choked. You keep your head in a certain angle for the camera.
The more you go on, the less you need people standing between you and the animal and the camera waving their arms about.
I think I was very shy and introverted when I was younger, and yet, when I got in front of the camera or went out on the town, I was able to go out half-naked and do anything.
When I get up in the morning I brush my teeth and go about my business, and if I am going anywhere interesting I take my camera along.
Of course, I love chats with various actors about the process and how they do it. To me, if it’s not on the camera, if it’s not there, it’s not worth it. It really just isn’t worth it.
Because I come from that old-school optics environment, I know stuff about depth of field and camera movement and things that are not necessarily a part of the curriculum for people who started on a box and have never done anything that wasn’t on a box.
We had the guys from X Men 2 do the cameras. They had a 360 camera that would go from one car, up in the air and over to another car in a continuous shot while the film was still rolling, going 90 mph.
The history of horror movies goes back a long way… of people trying to convincingly be terrified when looking at a piece of tape on the side of the camera box. I have a whole new respect for it.
TV helped me understand camera angles, close-ups, master shots.
You can always tell folks from nonfolks. Folks like to feel good, like to smile for the camera when there’s a big photo opportunity for a really good cause.
I don’t think I knew that much about camera placement and working with actors when we did ‘Half Nelson.’
You know, the camera is not meant just to show misery.
I’ve wanted to do some sort of acting stuff down the line, but modeling is a good way to get comfortable in front of the camera.
I worked on ‘Sarah Connor’ even longer than ‘Firefly.’ And I always remembered how generous everyone was to me when I didn’t know what to do, and I didn’t know the rules, and I didn’t know camera angles, and I didn’t know lighting.
I’m attracted to working with comedians because they don’t have that stars’ idea of what a hero should be. The downside is they’re always addressing the camera too much.
I’ve worked with actors who treat the first two takes like rehearsals. And that’s okay. If the camera is on you and we’re doing a scene where I’m off camera, I’m treating that as a rehearsal.
If I am at a party, I want to be at the party. Too many photographers use the camera to avoid participating in things. They become professional observers.
People are so used to having their lives filmed, they’re not even conscious of having cameras around. I still have that sort of suspicion when a camera comes out. I view it as a thing to fear.
The guys you see me bring home, we’re only cuddling and making out like any other person would do, but we’re on camera and the whole world’s seeing it, and it does look like I’m having sex.
When you shoot a movie, the camera is always taking, taking, taking and not giving anything back.
I wish to present myself in front of the camera, each time under the features of a different woman. I would like to live and apprehend the problems, the conflicts, the feelings and the impulses of women radically different from me.
I have always loved taking pictures. When I was young, I would carry a small camera with me on the sets.
‘Devdas’ isn’t a real film. It isn’t in the same genre as Mira Nair’s ‘Monsoon Wedding,’ where the camera’s presence is so understated it almost disappears.
I was a very imaginative and theatrical child and wasn’t afraid of being in front of a camera.
I don’t use the front-facing camera because the quality of selfies isn’t as good.
When I’m not in front of the camera, I’m just like any other normal person. I’m a student. I eat when I’m stressed.
The camera does not like acting. The camera is only interested in filming behaviour. So you damn well learn your lines until you know them inside out, while standing on your head!
I was very new to working in front of the camera when I started shooting ‘Gatsby’, so I set myself the mission of gleaning as much information as possible out of the much more experienced actors. The cast was astoundingly talented.
I don’t know if I always want to be in front of the camera. I love producing, I love the camaraderie. I love the adventures. I love the stress.
My dad was always taking photos of us at home, and even on set – he’d bring us along and stick us in the photos in the background. It was almost the beginning of acting for me, like, ‘Hey, you go over there and play basketball in the background, and don’t even think about the camera.’
I did come to L.A. to try to get on TV and get in front of a camera, so I could have a stage career in New York.
I still enjoy acting. I love the moment in front of the camera, but it’s all the other moments that I don’t enjoy. The ‘business’ aspect of it, the gossip.
Film was something that I didn’t see as a step up from music videos, though obviously, music videos, the fact that you work with a crew and a film camera, are the closest to film I’ve ever been. That is the only schooling I’ve ever had.
In the next shot the cameras zoomed to the fiancee who noticed the lights in the Czarina’s room go out and the camera then turned to the pond where two goldfish were making love.
When I get in front of a camera all my fears and my inhibitions just go away. As a model, I feel that I am acting, too, playing different parts and showing different facets of myself.
No baby boomer has a completely original idea, but after 13 years on ‘Today’ and another 11 on ‘Dateline,’ almost 30 years total at NBC, I felt the urge to find out what was ‘behind the camera.’ I had the feeling there was ‘something more,’ though ‘more’ might be less.
Comic timing… is how to have a relationship with the camera and deal with the camera without looking like you are.
I think that I need to work on being comfortable at being normal, everyday-ish on camera.
I plan to join the ‘SNL’ band as a maraca player and stand behind saxophonist Lenny Pickett. That way they will at least cut to me before commercial breaks. I’ll be sure to look right into camera.
You’ll never see a good performance out of me, in terms of a character, when the camera isn’t rolling.
People obsess about casting and representation, but really, all the real work is behind the camera. Casting an Asian American into a bad role where they’re shoehorned into these stereotypes is worse than not having cast them at all.
