Quotes About Camera

My parents worked in the film industry, but they both worked behind the camera, so I like to think that I have a really good understanding of how all the parts of the puzzle come together to make a film or TV show.

I didn't really understand what you did when you went in front of the camera. And then suddenly I just understood it. When you're in a play, you carry the story, but you don't have to do that in film.

I first picked up a camera when I was like 19 because I was unemployed and starting to get bored, and I was like 'right, what can I do?' And vlogging was just the thing that was on the rise, so I was like, 'let's give that a go,' and luckily it turned out very well.

When you have great performers and have set your movie in the right direction, it's a beautiful privilege to let the camera watch the action unfold without spoken words.

Guys like Spielberg and Zemeckis and really anybody who is a storyteller-filmmaker today has studied Hitchcock and the way he visually tells a story. He was the master of suspense, certainly, but visually you would get a lot of information from what he would do with the camera and what he would allow you to see as the story was unfolding.

TV has the unique opportunity to take musicals, live events, so it has that feeling and excitement and spontaneity, but still has a camera between you and what you are watching.

Nonni's Biscotti Bites fit perfectly in my camera bag for a spontaneous break between photo shoots.

Despite the limitations of the bulky 16mm camera and 10-minute film magazines, 'The Anderson Platoon' feels as spontaneous and fresh as any films that have come out of the Afghan or Iraq wars.

I avoided the spotlight when I was a kid. I always knew, 'Hey, it wasn't me. I didn't do anything.' If there was a camera around, I hid from it.

The actor already comes with emotions to the scene: fear, the fear of being in front of the camera. It is this fear that spurs the emotion of the scene. I too am afraid; I don't know exactly what I am searching for. On the set, we are all participating in this fear together.

Glass is the world's worst spy camera. If you want to surreptitiously take photos, I would not use Glass.

I didn't used to do shows, because I used to be so shy. We'd perform, and I'd be at the back, thinking of another song. I was so shy, I ain't never getting in front of the camera; I would never get on stage.

I don't have stage or camera fright but there is a little anxiety while performing in-front of a lot of people.

I've done all sorts of different kinds of action. We did a thing in 'Blood Diamond,' the attack on Freetown, where I carefully staged the action but did not show the camera operators what we were going to film - so it has the feel of documentary, trying to capture something, and that gave it a whole different feel.

I feel more like a creative artist using photography because there's - the digital work is so interesting now. It's come to that. I have had many different stages of photography - there are many different ways to take photos. But I feel now I'm in that stage of my life where I use the camera, you know, in that way.

Running backwards down the stairs, holding the camera, trying to focus on what's in front of you is difficult, and you need to be able to protect the camera.

I was very stale at Fox. Much of it was my own fault. I was lazy and didn't fight for things I wanted to do at other times. Most of my stuff consisted of setup/punchline jokes to the camera - a very old-school approach. I was part of the establishment, I guess.

Every industry has standards. For example, the motion picture camera, there are 2 or 3 film formats with a number of brackets and number of speed, a shooting speed that is standard. If we didn't have that, then some motion pictures will play back too slowly, and people would talk very slowly, and it will be bizarre.

I think the perception of me can be, you know, confused. But that's only because people only see that side of me when I'm at work, in front of the camera. So they don't see Miranda at home; they don't see behind the scenes. They see the glamour of it all but they don't see Miranda standing barefoot in a dirty old house.

The camera does not like acting. The camera is only interested in filming behaviour. So you damn well learn your lines until you know them inside out, while standing on your head!

To have an opportunity to get in front of a camera every single day is just priceless because it gets you closer and closer to being less self-consciousness in front of it and really being human and really making choices and standing by them.

Music has its own emotional embodiment. It carries an emotion with it. When you associate a lyric with the music, it's much easier; but when you're standing there completely dry in front of the camera with no musical background, just a fine-tuned, get-this-emotional-story across, it's a very, very intense kind of focus.

Comedy, when it works, is light on its feet and has the illusion of complete spontaneity: as if there is no film, no camera. You are standing there experiencing it all in real time. This illusion, I believe, is why so many people think comedy is easy.

No matter how fast I could do it with the digital camera I don't think I would get the same thing out of it. The passion I have for formulating an idea stands alone. It is the important essence of what I do.