When I was teaching at Harvard in the 1970s, I went to Project Incorporated in Cambridge and took photography classes. I didn’t even know how to aim the camera in those days.
I never go to a gym unless I have to for a role, a contract. I try to take care of myself as a human being, not because I have to be in front of the camera.
It was extremely useful to grow up in front of the camera. It gives the camera no significance. I think it helped me have perspective on things. The attraction that Hollywood can have, I feel like I’m over that. Instead I just concentrate on acting.
I’ve walked with very famous people down red carpets over to the crowd of thousands of people, and you’ll reach out to shake their hand and they’ve got a camera in their hand. And they don’t even get their hand out, because they’re recording the whole time.
The camera makes everyone a tourist in other people’s reality, and eventually in one’s own.
I’m working in a form of cinema that can be described, and has been described, as a diaristic form of cinema. In other words, with material from my own life. I walk through life with my camera, and occasionally I film. I never think about scripts, never think about films, making films.
Off camera, I am not so quiet, I have a fun time, relaxed.
Making a film of a work you’ve played for six weeks gives you intimate knowledge of the character. By the time you go in front of the camera you’ve worked out the behavior and life of a character.
If it doesn’t feel like a job and I’m learning something and getting that rush that I get, I don’t care if it’s behind a camera, on a TV set, or on the moon.
Audrey was a princess, so natural, the camera really loved her… James and I kept each other company during all the rejections. We used to meet, have a cup of coffee and went from office to office to get work and never got work.
A film is never really good unless the camera is an eye in the head of a poet.
I do tend to like movies that challenge me professionally. That’s mostly on a smaller scale, when you have one or two or five actors, and it’s all about the acting and not the camera.
I got my first camera when I was 21 – my boyfriend gave it to me for my birthday – but at that point politics was my life, and I viewed the camera as a tool for expressing my political beliefs rather than as an art medium.
I’m definitely a Polaroid camera girl. For me, what I’m really excited about is bringing back the artistry and the nature of Polaroid.
I knew that modeling could open doors, and I would be able to travel and forge my own path. Being able to support yourself is amazing, and I think that was one of the things that appealed to me, but I didn’t want to be in front of the camera at first.
Bruce Willis. Pain in my ass, no problem about that. We just didn’t get along. We got along off camera, but shooting we just didn’t get along.
It’s a heavy weight, the camera. Now we have modern and lightweight, small plastic cameras, but in the ’70s they were heavy metal.
I’m working 2 days a week right now, narration usually on Wed., and host on camera on Friday.
My heroes are the camera crew and the electricians. They work such long hours.
I shot ‘Blue Valentine’ on 16mm for the past, and for the present on the Red Camera. I feel that both formats are valid. The stories should dictate the format we shoot on. Filmmakers should have a choice.
I have a wild game camera.
I’m very in love with the fact that the camera is revolted by acting and loves behaviour.
You can’t name the inventor of the camera. The 19th-century invention was chemical: the fixative.
What I remember most about working on ‘Sesame Street’ is having fun in the green room with the other kids while waiting for my time to go on camera to work with the puppets.
When I have a camera in my hand, I know no fear.
The most powerful weapon in the world, as far as I’m concerned, is the camera.
Working on camera, your face is your career. But I’m not really one to buy into the pressures. At the end of the day, the job I do, it’s more about the art and craft of it. If you’re good at what you do, there’s a place for you in the industry, no matter what you or your skin look like.
Look, Hollywood’s a mecca, but it’s not the final answer. You pick up a camera anyplace in the world, you can make a movie.
Many times I’ve sat with a camera and another actor and seen all their fears and insecurities and struggles. You want to support them and help them as much as you can.
If we put the camera on ourselves, our friends and neighbors, we’ll come up with some scary stuff.
If memories were indeed like what a camera records, they could be forgotten, or they could fade so that they are no longer clear and vivid. But it would be difficult to explain how people could have memories that are both clear and vivid while also being wrong. Yet that happens, and it is not infrequent.
It doesn’t matter if you use a box camera or you use a Leica; the important thing is what motivates you when you are photographing.
I don’t like to watch playback. But being on the set, watching the way the camera is being moved and the way the light is being used, you do get an idea of it.
I think I’ve spent more time in front of a camera than off camera. That’s just the way it is.
The less the camera is able to capture what you’re seeing in a scene, the more editing it needs.
Joanna points her camera at a section of society unused to having cameras pointed at it. But I don’t know about categorizing them in terms of class; I’m a bit wary of that. My dad is the son of a shipbuilder.
I think a lot of great male comic actors are introspective, quiet personalities, which I really admire. But they are really able to turn it up when the camera’s on.
It’s been an extraordinary journey. I have learned so much along the way. I entered the modeling industry as a business person already. I always knew I belonged on the other side of the camera.
I think the digital camera would record that information too fast for me.
I was born in front of a camera and really don’t know anything else.
Unfortunately, I’m not one of those people who take pictures, you know, carry a camera. Because if I did I’d have stack’s and stack’s and stack’s of different act’s. I got a lot here – I know what I done.
I smuggled the camera, it was no problem to smuggle the camera there. And I took 60 photos, two films, during the time when there was no one in the control room, in the building.
I travel, I read, I write, I have other lives. But when I have a camera, I know that’s my country, my island.
There is something timeless and beautiful about cooking straight to camera.
Everything seems really simple on paper until you take a camera out of the box.
I discovered the 7th art at home when I was kid, through Charlie Chaplin’s movies and those of my father who shot documentaries. He was my biggest influence. So I took his camera and started shooting.
I checked myself out in that funeral parlour scene. I saw myself laughing, because there was a shot of Ed and I together and Mary was right in back of us. My head turned from the camera and I saw myself laughing, because Mary was absolutely brilliant in that thing.
I am in love with the idea of doing a movie in 3D. I think 3D would be great in a kind of realistic normal story without throwing objects to the camera, but using the 3D on the emotions in an intimate story.
In classical oil painting, there seemed to be a radical turn to seeing things as the camera sees them, with that technological modification. I began to have a tremendous problem with all of this.
I know every actor says this, but the people behind the camera are great. They always have answers.
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.
If your story is being told by someone who doesn’t really know it, it’s not going to come out accurate. A lot of it has to do with context. Whoever’s behind the camera or pen or whatever.
A photocopier is a camera in its own right. I was fortunate to grow up in the time and culture that I did. I was allowed to develop an awareness that the art that really moves me is actually based on an original image.
The camera cannot lie, but it can be an accessory to untruth.
Look and think before opening the shutter. The heart and mind are the true lens of the camera.
This thing called the camera, that takes everything in equally, taught me a lot about how to see.
I don’t click pictures. People carry a camera with them while travelling, take pictures, keep them as memories, but I don’t. I don’t even have a camera.
What’s great about working on a sitcom is that I spend so much time with people who are in other fields as well, such as writing, directing, and/or camera operating. Being on set is like being on a playground. I go from one thing to the next, and I’ve learned so much and hope to continue learning.
I think it’s good for an actor to bounce between stuff on camera and stuff in theatre. If I could do half and half every year I would be a very, very happy man.
I love Polaroids and I have a Polaroid camera collection from the ’50s.
