Quotes About Camera

There was a choice of being a director who's more familiar with the technicality of doing a movie, like learning about the camera and filters and setup, or being a director who can actually talk to actors. And I always wanted to be an actor's director.

I loved being behind the scenes and finding out how they make movies.

I've always been interested in the camera and the effects of it - that's what drew me to film in the first place.

At least when you're acting you can be someone. In front of the camera you have to be yourself. And who am I?

The main relationship in the whole series was the one between the camera and Fleabag. I had to convince myself that whoever was watching on the other side of the camera was instantly complicit with Fleabag and instantly a friend of hers.

This is a whole new world to explore as a developer to go in and learn these new gameplay mechanics, to learn what it's like to actually control a character from a top-down, 'God's eye' view, and to figure out how the game camera can be controlled by the player's head.

It's a well-known fact that the TV camera adds 10 pounds. I don't want to say that I've been calling my Jenny Craig consultant a lot, but I'm pretty sure I'm the first spokesperson whom they've considered filing a restraining order against.

The incredible cinematography makes 'A Walk to Beautiful' almost like a poem; there is a tenderness on display that seems to emanate from the camera. There is also great sensitivity to the women whose stories are being told - never did I have a sense of the subjects being exploited.

You don't want to be the guy whose back's to the camera in the emotional part of the movie. So, you have to be aware of the camera movement and what the camera's doing.

In everything I do, the aesthetics are driven by the emotion. However I can do that with a camera, whether it's a long lens or a wide lens, I'll do.

I'm not an actor that tends to care. I don't ask 'Is this a close up? Is this a master? Is this a wide? What are you doing? If I look up and notice the camera I go 'Oh, it's a big one today, must be an IMAX.' And that's kinda it for me because it doesn't affect what I'm doing.

Most of the telly I do only has one camera and the reason you have to cook it twice is you have a close-up, so you see what is happening really close up and then you have a wide shot, which is like standing back so you see the whole fish and the kitchen and, like it or not, you have to do it twice.

If I have to point to something specific with the way I move my camera, I love to do it with a wide lens. I like to show you as much of the space as I can, even if I'm following a character.

As the character talks and moves, the world around him is slowly revealed, just like dollying a camera back for a wider look at things. So all my stories start with a character, and that character introduces setting, culture, conflict, government, economy... all of it, through his or her eyes.

I'm not wild about hand-held shots.

I have a wild game camera.

There's always a temptation to get in front of the camera. It's part of my personality.

I have been doing commercials on camera since I was ten.

When we say 'cinematic', we tend to think John Ford and vistas and wide-open spaces. Or we think of kinetic camera movement or of a certain number of cinematic styles, like film noir.

The stuff we have been told off record tends to be the stuff that is true and the stuff we are told on record on camera tends to be the stuff that is not so true.

A movie contains literally tens of thousands of ideas. They're in the form of every sentence; in the performance of each line; in the design of characters, sets, and backgrounds; in the locations of the camera; in the colors, the lighting, the pacing.

When I'm writing, I can always play around with tense. I can always make past present. I can always kind of manipulate, and I can always be delusional in a way that's completely self-serving. With film, it's like, the camera can't really lie. It can manipulate to a certain extent.

You can do really slow movements with it, like zooming in for a minute and a half. The audience isn't aware that the camera has moved, but there's subconscious tension there.

I'm very heavily involved in the editorial post-production process, and the camera - it's just such a big part of my storytelling language. I like creating the tension; I like creating the emotion through the movement of my camera, or the lack of movement through my camera, depending on what fits the scene best.