Quotes About Camera

Poetry on TV doesn't have to be like a newscast with someone staring blankly at the camera, pretending they're not reading from an autocue.

I'm attracted to working with comedians because they don't have that stars' idea of what a hero should be. The downside is they're always addressing the camera too much.

There is nothing worse than when actors come to a set - and it happens a lot with big stars - and they are too aware of where the camera is. They are the show. And that becomes apparent and it affects the production. I am like 'You should not know where the camera is - you should act, and I will do the rest.'

If we take a step back and look at what Snapchat is, it all starts with the camera.

I'm staying with film, and with silver prints, and no Photoshop. That's the way I learned photography: You make your picture in the camera. Now, so much is made in the computer... I'm not anti-digital; I just think, for me, film works better.

My biggest challenges when I first started out were not having a computer or camera or Wi-Fi! The computer and the camera had to be borrowed, and there were times that I used the computer at the library, and I literally sat outside people's houses to steal their Internet connections.

With dancing, you have to know spatial movement with somebody. It is steps. It's literally steps and knowing how close to be or how far away. You have to have the beat in the right place with the camera.

I never know which camera is on me when I'm dancing and the director picks the shot he likes but it usually isn't the best shot for showing the steps I want the audience to see.

There isn't really anybody who occupies the lens to the extent that Lindsay Lohan does. Something happens when she steps in front of the camera. There is this magnetic energy.

I spent a lot of years just learning my craft and falling down in front of the camera.

The resort had been a sanitary bubble designed to shield you from the realities of culture and to limit your interaction with the local people. They were there to serve you, and you were there in your role as an ATM with a camera.

A lot of actors, they know the camera's there, and if somebody moves around or makes noise or whatever then they get all distracted, but I pretty much lock in. You can't distract me too much.

I don't really believe in the mystery of cinematography - what happens in the camera is what the cinematographers create and all that nonsense - I want the director to see what I'm trying to do.

Actors are very demanding because they have nowhere to hide. If I write a scene, it doesn't turn out very well, I don't ever have to show it to anyone; when you turn the camera on, or when you walk on stage, they have to feel like what's happening is real.

The great thing about 'Fargo' is that it's a more objective style of filmmaking: the camera moves in very classical ways, and the most interesting things normally are the characters.

I wish that every director was as interested in doing as much in camera and with physical objects as much as possible as J.J. Abrams is.

I call it an ensemble cast or the world of 'Gulabo Sitabo' which is about the lifestyle of my characters. I just go and sit there in a corner and observe these characters through my camera. That's how I shot the film.

I think the camera was always my obsession, the camera movements. Because for me it's the most important thing in the move, the camera, because without the camera, film is just a stage or television - nothing.

I'm working in a form of cinema that can be described, and has been described, as a diaristic form of cinema. In other words, with material from my own life. I walk through life with my camera, and occasionally I film. I never think about scripts, never think about films, making films.

The camera introduces us to unconscious optics as does psychoanalysis to unconscious impulses.

discontinuity also allows us to choose the best camera angle for each emotion and story point, which we can edit together for a cumulatively greater impact.

I've got the camera. You got the film?" Benny shook the baggie until the canisters fell out. "I got the film." I tossed my head over at Jamie. "What've you got?" "Passion. Charm. Talent. And an irrepressible desire to charge around a battlefield while I'm being pursued by the dead." "Okay," I agreed. "If that's all you've got, it'll have to do.

The difference between the casual impression and the intensified image is about as great as that separating the average business letter from a poem. If you choose your subject selectively—intuitively—the camera can write poetry.

That's how hospitals get you. You go in to visit and before you know it they got a camera stuck up your butt and they're looking' to find poloponies.