Quotes About Camera

While acting, you just go with the flow of what you are feeling, but dubbing requires recreating and reliving those emotions all over again. So it's very necessary to match up to the performance in front of the camera.

I'm used to having a camera in my face but not a camera following me.

Scale is very easy actually. Put a camera on a jib or a drone and get bloody big shots on big sets, it's very easy. But then you're distracted. If you're looking at the shot, you aren't following the story any more.

I know from experience, once something is said on camera, true or false, it follows you forever.

An effective found footage movie is much harder to make than an effective traditionally shot movie. A crappy one is much easier to make because you take your camera, and you shoot the scene, and you're done. But to make it effective, they're actually much trickier.

My dad gave my brother and I a camera to film our football games when we were 10 years old so we could see how we could get better. Then one day, we decided to pick up the camera and film whatever we were doing.

I do come alive in front of a camera. The first video I ever made was a formative moment for me.

I loved Bob Hope and the way he would turn to the camera and break the fourth wall.

My background is in VFX, and I know from experience that the best VFX are when you have something real in the frame that you can either extend or work off of. It was really important to get as much as possible in camera, for real.

I had an instamatic wind-on camera and remember buying the flashcubes and fixing on top of the frame. The flash credits were limited so you had to be careful not to waste any.

When I got on my first set, I watched what the cinematographer was doing, and at that level in film school, the cinematographer has the most control. They're the one looking through the viewfinder, carrying the camera, framing the shots.

I don't, frankly, want to be on television.

Sometimes a camera comes out and people freeze up a little, and I'm like that with normal cameras, but with a film camera, I feel different.

I feel that I would perform really well if there was no camera in front of me. But when there is one, and the director says 'Action!' I freeze.

I was born in front of a camera and really don't know anything else.

I always enjoyed being in front of the camera.

I love acting, but I hate being in front of camera - I get really awkward. I hate being the centre of attention.

I think I may just enjoy being behind the camera as much as I like being in front of it.

When I made 'Eight Below,' they wanted me to shoot digital, and I didn't want to do it because that's just what I need, to get a great series of takes and then find out the camera was frozen.

George Lucas wanted this moving camera for all of the photography in Star Wars. He was willing to take a risk with the concepts that I advanced with regard to ways for doing that.

To copy Nature? A boy with a camera can do that. To get the spirit of Nature? A woodman or a shepherd can follow the trail of the whistling wind to hoarded sunshine in distant wolds. But to interpret Nature and inform it with a human personality that rises above it, invokes the divine in it, is the work of genius.

In terms of so-called fly-on-the-wall documentaries, there's a claim that the camera is a transparent window into a pre-existing reality. What really is happening is that the film crew and the subjects are collaborating to simulate a reality in which they pretend the camera is not present.

Technology has grown so much that there's a whole idea of gluttony. Sometimes you get carried away because you can have a camera go through the window, but do I need a camera go through the window? Those choices are up to the director.

I guess you can't really turn a camera on outside in Texas without getting Terrence Malick comparisons.