Quotes About Cameras

It's a different era. I understand what Charles Barkley was saying but you just can't take guys out. There's too much scrutiny. There's too many replays and reviews, and cameras everywhere.

Once you're on the set and shooting, it's all just cinema. You have actors and cameras.

God of War' is traditionally known for these cinematic, pull back cameras, which I think are fantastic.

My mother's career was over at 40 but she was still trying to be everyone's buddy, always smiling for the cameras.

Having a hearing is educational. Having a hearing with television cameras is useful. Having a hearing with two rows of television cameras is Heaven.

You know, I do music. If you look under the hood of the industry I'm in, it's all based on technology. From radio to phonographs to CDs, it's all technology. Microphones, reel-to-reels, cameras, editing, chips, it's all technology.

C]ameras, in the right hands-or at least in more and more hands of average citizens-may help create a culture in which the previously powerless have the welcome recourse of evidence against the culpable.

Cameras have really made people question the police. People, especially white people, are saying, 'Oh my God, we had no idea.'

It was dripping and, you know, and there was a whole line of cameras and microphones. I felt like - you remember the honor guards, only it was a dishonor guard.

Diving has been in the game for years. Probably the coverage the game gets now, with all the cameras around, it gets highlighted a bit more. But it hasn't got any worse.

When Mantle faced the cameras for the last time a month before his death, he was a husk of a man, shrunken by cancer. The stiff brim of his 1995 All-Star Game cap dwarfed his brow. There was no Mantle Roll. He looked straight into the cameras and told us all, 'Don't be like me.' The transformation of The Mick parallels the transformation of American culture from willful innocence to knowing cynicism. To tell his story is to tell ours.

My relationship with the journalists who covered the campaign was complicated. I often hid from the critical eye of their cameras and their omnipresent digital recorders, wary of the critique implicit in every captured moment. But I also grew to respect and understand their passion for their work, their love for the journey we were sharing.

I was a part of the reality show wave in 2002. Back then, no one had seen non-fiction on TV, and we had no reference point, so we all were just excited to see cameras around us.

You know, I've had blowups with my coach too. The same thing happens, it just wasn't as evident back then because they didn't have so many cameras and ways to see things happen.

'Oppam' is more of a director's movie, especially because I play a visually-challenged hero in it. The character doesn't have a perspective, and so cameras aren't placed like how they are usually done in other movies. The angles and the way the scenes are captured are different.

I think I learned discipline on 'Jane Eyre.' Charlotte Bronte's dialogue, the intellectual duel between Rochester and Jane Eyre's character, is so compelling that you didn't have to do much with the placement of cameras.

I agreed to film after my rookie year in Golden State. I was more used to cameras and felt that my journey to the NBA was a story worth sharing. Little did we know how much bigger the platform and documentary would become after Linsanity.

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.

Surveillance cameras might reduce crime - even though the evidence here is mixed - but no studies show that they result in greater happiness of everyone involved.

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.

I think the biggest challenge we faced in making 'The September Issue' was the fact that people in the fashion world are very suspicious of cameras. They're used to a camera being the enemy, something that is prying and looking to catch you in a compromising position, something that's judging you.

You know how in every heist movie they get past the security cameras that show the hallway leading to the diamonds by jamming the screens with a fake signal of everything looking safe and quiet? Usually a guard coughs so they don't notice the blip from switching to the bogus feed.

Nothing. We're all friends and friendly. So when the cameras go down, depending on the mood or the nature of the material we're dealing with, there's usually a kind of a prevailing light attitude that's floating around.

This street dead-ends in a fishbowl of concrete: a line of shops to the right, some formidable, blockish government buildings to the left, and a wall directly in front, which is topped with a second wall, which is topped with a third wall, which is topped with razor wire and mounted cameras. It's behind this wall, stretching high up into the sky, that the American flag moves stiffly in the mild wind. Only a few feet away from it, on this side of the fence, a Mexican flag also flies.