Quotes About Camera

As a person, I am someone who wants to give my the best in every take. I wouldn't say it was easy for me to get into the industry because I come from a background where no one has been in films. But I do believe if you work hard, you will get noticed. Modeling gave me that courage to stand in front of the camera.

I was hoping, actually, that being on the other side of the camera in a scary movie, see how it's filmed and maybe you won't be as scared next time you watch one... didn't really work out! Because I know it's fake, but I just get so into it.

There is a big difference between performing in WWE before thousands of people in an arena and acting in a scene with a camera close-up on your face.

It's the first film that I made where the director was not present under the camera, and it threw me.

The thrill of being in front of a camera remains exactly the same.

Nowadays you don't get to see composition in a movie because nobody ever keeps the camera still long enough to see it. Actors don't have the thrill and the power of working with space.

The thrill of acting is making a character real. Modeling is the opposite of real. It's being fake in front of the camera.

So I was hugely thrilled that my first scene ever on camera was with Hal Holbrook.

In a thriller, the camera's an active narrator, or can be.

There's something very scary about exposing yourself on camera, knowing that you're going to be put on thousands of screens around the world for everyone to judge, but there's also something very thrilling and exciting about it.

I couldn't be 'Johnny' in front of a camera in acting jobs and behind the camera I like to be 'Michael.' With directing, you can't do it by halves. There's a lot of reflection, and I have found that I, as 'Michael,' thrive on it. It's lovely coming home and feeling that stuff from a day's work as myself.

Cinematography is so much about instinct and intuition - you want the same range of experience going into behind the camera as what you see in front of it. Your life experience will come through the lens.

There's a subtleness to camera work. You can really create intimate moments on camera, and sometimes that requires a little more precision from an actor because you have to pull people in as opposed to throwing it to them.

I've always been interested in photography. I remember when I was about 14, I spent an entire summer selling lottery tickets in some little booth so I could make enough money to buy an Olympus camera.

I have a whole quarantine-on-camera look and it's my Harwell Godfrey hoops, my Phenomenal shirt, glasses, and my hair tied up into a bun. If I'm on camera, I'll wear some makeup.

You look tight on camera, it sees it. The camera can see everything.

When you add up the minutes you spend actually making a movie - the amount of time you spend actually doing your thing in front of a camera - it just isn't that much. But it's everything.

That first year at Universal was a big blur and, naturally, I thought they were wasting me. I didn't realize at the time that I was learning my craft and acting more easily in front of the camera.

I was meticulously copying other art and then I realized I could just use a camera and put my time into an idea instead.

I was molded, spent my time underneath a lot of goo. And then the bits and pieces were sculpted. It took probably 10 days to create each character after all those camera tests.

McLeod's Daughters' was my first regular job out of drama school, and my first full-time role. That was great because I learned a lot, in terms of working in front of the camera.

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 found that each time I opened my camera and filmed Jerusalem, its image was overtaking what I wanted to express.

When I'm on camera, I have to do things pretty much the way I do things in everyday life. It gives the audience someone real to identify with.