Quotes About Camera

When I was working on 'Men of Honor' with Robert De Niro, there's a pipe that he has in the movie, and it took us about six weeks to find the right pipe for him to use and feel comfortable with. It was a great choice, because it was really about what worked with the camera at that time.

I'm super weird about my lips. I actually don't let makeup artists do my lipstick. I know my own lip line. I feel, even, they go too much over my lip line or too much under my lip line, and I don't want my lips to look strange on camera. I'm very particular about my lips.

I don't like kissing on camera. It's bad enough to be caught kissing by your parents. But when you have a whole crew watching you, it's a little weird.

The weird thing with 'Kismet' is that Vincente Minnelli didn't know what to do with a Cinemascope camera for that film - so he never moved it! It's like in the old days when sound first came in and was so complicated that the camera just sat there. There are hardly any close-ups in 'Kismet,' so everything's at a bit of a distance.

Social media really makes it tricky for people sometimes because you go, 'Oh, it's awesome. I'm gonna play this character. I'm going to do this really weird thing on camera,' and then you go back and read all your tweets and go, 'Mmm, well, I guess they didn't like that so much.'

One of the advantages of this found footage format is that you can have deliberately badly composed frames. Here we can put a camera in the weirdest angle and it kind of throws you off. You never know what you are supposed to be paying attention to. It's deliberate chaos.

It is totally different making films in the East than in the West. In the East, I make my own Jackie Chan films, and it's like my family. Sometimes I pick up the camera because I choreograph all the fighting scenes, even when I'm not fighting. I don't have my own chair. I just sit on the set with everybody.

When I turn on the news in Paris, the way Syria is covered is different from the way it is covered in Washington, D.C., or London. Even in Western society, where we hold all the values of democracy and freedom of speech, as soon as you point a camera in a particular direction, there is an angle - literally and figuratively.

Some directors are really strong on action, manhandling you around the set; others are very focused on setting up the camera shots and practically ignore you. You have to get used to introverts, extroverts, directors who clown around for the crew, and the odd one who's monosyllabic.

I spent every day just praying that I didn't look like a big dork on camera.

I try to learn from both, from features and documentaries. In both cases you have to find a way to make the camera as discreet as possible, and flexible enough to be able to capture the moment when it happens. I know from documentary how to not have a preconceived idea of what the scene could be.

I prefer working behind the camera.

I've always preferred being behind the camera.

There's just such a premium on hurrying, and the camera is the be all and end all, and the actors had better hurry up and get it right and get it done.

Nothing can really prepare you for live TV because you never know what's going to happen. I think, for me, what really helps is I know what I'm looking for when I'm shooting things, so it definitely helps to have that eye and know what camera you're looking at.

A lot of athletes have star quality, but they just can't perform in front of a camera. So no matter how good-looking you are, no matter what kind of presence you have, you still have to be able to be a convincing performer to become a star.

The camera is no more an instrument of preservation, the image is.

Being on stage was all about the palpable energy of a rapt audience hopefully buying into a life onstage. The immediate connection with the audience was the best part for me. The camera is not as fun, but your work is preserved forever. There's immortality to it.

Celebrities are under pressure to perform all the time. You are in front of a camera all the time, and it is difficult to lead a life in the world of glamour.

I never do anything for the camera. It's my job to pretend the camera's not there. I'm never moving for the camera.

'Happy girls are the prettiest,' and to be in the camera frame makes me happy. I just want myself to keep working. I can be in front of the camera for 48 hours continuously without any breaks.

Anytime you're on camera, 95 percent of whatever character you're playing, unless you're Daniel Day-Lewis - or maybe, no, pretty much just him - you're cast because you're you.

Biologically, I'm lucky - an angular face and dark colouring which shows up well on camera.

The way NXT has been from day one when I was asked to do it, 'Don't put me on camera. I do not need to be on camera unless it's absolutely necessary. This isn't about me, it's about the talent,' and everyone that works in NXT, that's what we think.