Quotes About Camera

The Internet was made for Andy; if it had existed in the early '80s, Andy would have had a camera in his house and recorded his every movement. He would have invented reality TV.

The internet is passive - it only reacts to our desires, our questions, our clicks. But the internet is not only a mirror but also a camera that produces an image of our desiring self. And the content of the accounts does mostly refer to the ordinary, everyday life, which as such is totally uninteresting.

Then everything is copasetic," Fester said. "Except, well, without a camera, you can't do George Queller tomorrow. Don't worry. I'll find somebody else.

With film, you have very limited tools to convey subjectivity - voiceover, the camera's point of view, good acting - but even the very best actor in the world is crude by comparison with what you can do in a written paragraph.

I won't say doing 'Jai Ho' was a wrong decision. People said I was camera-friendly and the film had some truly big names.

In the grand spectrum of things in WWE, you are wrestling for that camera and that camera and that camera - and all the cameras they have - and you have to make things work that way because, through that camera, there's a million people watching.

Something that's interesting with season two of 'Total Divas,' Fandango and I's relationship has been on the surface level, as far as WWE programming with 'Monday Night Raw,' 'Main Event,' 'Friday Night SmackDown.' You see us on camera and that's about it.

I started making little films with a 16 mm camera as an undergraduate at Yale. My first job out of college was 'assistant editor' on a forgettable low budget feature.

Being in front of the camera - first of all, when I wanted to get into television, it was as a producer. I never had an idea that I would do anything in front of the camera, and that kind of happened by accident. But I wanted to be a producer or give me a job with the Yankees or play for the Knicks. I was a sports nut when I was a kid.

Oh yeah - I watched Knife in the Water, saw the shot, and repeated it. But even if I hadn't seen that film, inevitably the camera would've ended up on top of that mast, I mean if you think of it there are only so many dynamic shots on a boat.

I always say that I've been in a bad mood for maybe 35 years now. I try to lighten it up, but that's what comes out when you get me on camera.

The smartphone killed the traditional camera industry because it subsumed all the functions of a traditional camera.

The terrible tragedy for every director is to watch an actor do what you want and not have the camera rolling - and never get it back again. So I always try to roll the camera before anybody's really ready.

I have a tendency to trail off in conversations. I don't look up at people sometimes when I talk or cook, and those are all pretty bad no-no's being in front of the camera.

I do love acting the two seconds that you are in front of the camera - and this is going to sound like I'm complaining, and I don't want that because I'm blessed to even have a job - but there is a lot of down-time when you're just sitting in your trailer.

The first day of the shoot, I had been in my trailer and came out dressed as Peter Parker in his slightly daggy corduroy jacket with his camera around his neck. Almost instantly, 500 or more people just stopped and started to watch us. They were calling out my name, calling out, 'Peter' or 'Spidey'.

They had some really cool rigged cars and things that were different that they would tow behind the camera car that were actually on these trailers that manipulated side to side and stuff like they were getting hit, and actually put the actor right in the middle of the chase.

War is the easiest photography in the business. Just get close, be lucky, know how your camera works. There are subjects everywhere. Everyplace you go, there is something to photograph in a war, like being in the middle of a hurricane or a train crash or an earthquake. You can't miss it.

I don't story board. I do something else, which is, I block it. We then train to the blocking. In other words, when everybody's training, they're actually training a lot of the moves that we are definitely going to use, and then, I do a lot of photography of that, and that becomes where the cameras go.

A lot of cable television is shot on a single camera. Our eyes are more trained to that. It takes the camera off the crane, away from observing the action, to becoming a character in the story along with everyone else. People are getting used to that.

I trained like an animal, but the thing is focus and concentration. When the bell rings it's like when the little red light goes on over the camera. And I can usually nail my lines on the first or second take because I'm right there.

The biggest battle for a lot of people who come out of the theater, which is where I was trained, is that they can never forget that a camera is pointed at them.

I wasn't trained to be in front of a camera, so there were a lot of challenges at first. But I didn't want to be fake.

There is a tendency to feature more actresses on covers, but I'm a big model lover. I grew up watching these models, and they gave me the wish, the need, to work in the fashion industry. I loved watching them - their beauty, the way they worked in front of the camera and that power of transformation, especially in the Seventies.