Quotes About Camera

My favorite films left the camera rest, and the actors and characters have a stage to act. Move the camera when it's motivating.

After the show, a drinks party was held at the couple's home, during which Driberg made further "passes" at Thomas and offered to give him a camera to "record his activities at the camp." Thomas retorted that cameras were forbidden.

one of my favorites: Robby gave her a skeptical look. "Ye're an angel of death. No offense, but I would call that a wee bit of harm." "We're called Deliverers, actually. And we're not supposed to take someone before their time." "How does that work?" Gregori lifted his camera, focusing on her. "I mean do you just go down a line, saying, 'Eenie meenie mynie moe, sorry, dude you gotta go'?

It's strange, the lack of emotion, the absence of drama in reality. When things happen in real life, extraordinary things, there's no music…There's no close-ups. No dramatic camera angles. Nothing happens. Nothing stops, the rest of the world goes on.

It was hard to see where he was going, and he was careful not to damage the camera, so expensive that his father made him name it (Carl), so he would treat it more carefully.

Instinctively, she lifted her camera and minimized her view of the world. It was how she managed her memories, how she processed the world. In pictures. With a camera, she could crop and reframe her life.

The man had looked directly at the camera, making a connection she could feel through the years that separated them. He had his arm around the woman, and his smile was a beacon of happiness he plainly wanted the world to see. The woman had her arm around the man's waist. She was gazing up at him, her joy so complete and intimate that being a witness almost seemed an invasion of her privacy.

building again," Eve continued. "Knows how to angle herself to keep her face off camera. We're going to find somebody who saw

Stage is the ultimate test; I like watching established screen actors on stage to see if they can really do it. But it's great to have a healthy mixture of the two. Film is so technical: there's something very particular about the relationship between you and the camera. It took a long time for me to get good on film.

It's one of my favourite types of comedy, just the awkward moments on camera. For many people, it's unbearable to watch, but I love seeing it when it's done right.

In September 2005, I was three things: the media blogger for 'FishbowlNY,' a maniacal Daily Show fan, and the only person to smuggle a tape recorder and camera into a big Magazine Publishers of America event featuring Jon Stewart interviewing five hotshot magazine editors in an unbelievable bloodbath.

It's different now, like pushing the stop lever on my camera until nothing except the war can squeeze through the lens.

And then we watched an amazing number of movies from the late '60s and '70s, which is my favorite time, and we studied their camera movements, their stocks, the way they lit stuff, the colors they used.

In films people basically work for the camera, you know, and that's why actors can hate each other and not be speaking to each other and still look as if they're in love because really they're loving the camera loving them.

I like doing as many special effects in camera, as much as possible.

David Blaine, I think, was the first TV magician to really turn the camera around and make it about the spectator's experience. That's really what magic is all about.

When someone's acting for a scene, they can fool the camera. But in everyday life, unless you're watching and censoring yourself every minute, or spending all your time in the company of ladies, what you feel is bound to show in your eyes.

That Shaw is the most egotistical thing! He hogged the camera and spent more time with the hairdresser and the makeup man than any actor on the lot!

As a kid, I always wanted to be like Spielberg and to make wonderful movies. Even when I was making 'Indiana Jones,' I was looking at how he would come up with these amazing shots and how he would choreograph the blocking and all that. So I knew from early on I would go to film school and try to work behind the camera.

Do you remember the total eclipse of 3680 when we made a camera obscura so we could see it without burning our eyes?" "A box," I recalled, "with a pinhole at one end and a sheet of white paper at the other.

arms, and the other pulled the camera from

I don't like to watch playback. But being on the set, watching the way the camera is being moved and the way the light is being used, you do get an idea of it.

If you know how to shoot a scene, then you know how to shoot an action scene. If you've seen an action movie, and you watched it, and you paid attention to how scenes are constructed and where the camera is and how the camera moves, then you know how to do it.

I've always tried to do camera moves that I felt were immersive. So I think, as a filmmaker, my style of filmmaking is very well-suited to 3-D anyway, so it's not like I'm having to change a huge amount of the way I shoot to work in 3-D.