Quotes About Camera

In films, you are a commodity. You are a look, something that the camera really likes, something that has struck an audience in a certain way. It's not really so much about transforming yourself the way actors do onstage. I think there's a difference between the skill of acting in movies and onstage.

I did nothing but theater until, I guess, '99. I was all the way through college the first time that I had stepped in front of a camera. And it's weird; it's definitely a transition.

Film and television is just a different technique in terms of how to approach the camera but basically the job is the same; but what you learn as a craft in theater, you can then learn to translate that into any mediums.

My acting stopped being about disguise and became about truth which suits the camera, so my film career took off when I came out.

Great claims are being made for the photograph as truth. We are showing you things, we show you the war. I say you can't actually. The camera can't.

There's this crazy thinking that style guarantees truth. You go out with a hand-held camera, use available light, and somehow the truth emerges.

A deeper truth the camera can see can be more surprising than even the director imagined it could be. That's a wonderful thing that grows and happens in films.

drinking a Coke and laughing, waving the camera away. "That's the couple," Watanabe said. "Grace and Bobby

A huge part of what we do as actors is learning to ignore the camera, as if it's not even there, while simultaneously being very aware of the camera and what it's capturing, because you can give the best performance of your life, but if you do it with the back of your head facing the camera, it's going to get cut from the movie.

When I first started directing, I could have chosen a more lucrative path, with sitcoms and things like that. But I knew enough after the experiences I had in front of the camera that I was not going to do that, because I was just going to work on my own things or work with people I respected.

'Hollyoaks' is where I learnt a lot of the craft, being in front of a camera six days a week. That's certainly an experience you don't get in drama school. It invites you to be comfortable in front of the camera.

People think that it is important to learn by assisting the great photographers. I say that is a big mistake. Be happy; just learn from any little guy. Learn how to use the camera - you don't need anything else. You can't be taught the real skill anyway.

I totally love being on camera.

I'm a film rat. I love being in front of a camera. I love being behind a camera. I love talking to the director. I love talking film.

It's easier to do an action scene than a love scene. I love fighting. When the camera's not rolling, I'll usually punch some of the actors, just for fun.

I grew up in New York, so I fell in love with acting on a stage, not in front of a camera.

I love the camera; there's something very special and sensual about it, and I have a tendency to call it a he, like it was a man. But, unlike a man, a camera is accepting of everything I do.

Bashfully I dropped my shirt onto the sand and stood naked but for my sagging trunks. Glenn, never having seen anything quite this grotesque and singular on an Australian beach, certainly nothing still alive, snatched up his camera and began excitedly taking close-up shots of my stomach. Bizeet, bizeet, bizeet, bizeet, his camera sang happily as he followed me into the surf.

I slung my Canon over my shoulder and strode into the empty Jetway. It felt natural, that motion, that walk through the tunnel, to the waiting plane. I felt like I was in the right place. I hear a voice, my own voice say: Welcome to your life.

He'd broken the man's bone. And now he should break his fingers and both of his arms and both of his legs as instructed by the drawings. He should do it now, while the man was out. He already had the man's right arm wrapped in towels, bridging the gap between two blocks of wood. He should break it. How would BoneMan know? He hadn't seen any closed- circuit camera.

When I started, you didn't focus so much on production, certainly not - gosh - down to the finest little detail of how you shifted your eyes or how you turned to somebody. A lot of the shots were far away from a still camera. There weren't as many close-ups and intimacy.

You can't name the inventor of the camera. The 19th-century invention was chemical: the fixative.

But I can say what interests me about documentary is the fact that you don't know how the story ends at the onset - that you are investigating, with a camera, and the story emerges as you go along.

I'm not a big fan of 'Jersey Shore' and those kinds of shows where people are really playing up to the cameras.