Quotes About Camera

I'm a very private person. I don't go out much. I'm home with kids. I go to work. I don't really like being the focus of attention, which is why I like being behind the camera more.

I think that I need to work on being comfortable at being normal, everyday-ish on camera. Unlike a lot of actors, I think that's the thing that I'm not so comfortable with.

I come from a visual background. I used to work in the camera department at Warner Bros. when I was a teenager. I grew up dusting lenses and learning about photography.

I was always painting when I was a kid. But then when I handled a camera when I was 17, that was it for me. I loved photography. I would work 4 or 5 hours a day. It was like a calling.

Kissing in the movies is a real art - figuring out where to put your heads so it looks good on camera. I have had other co-stars who couldn't work that out, which made it a lot harder for me.

I don't want to direct music videos at all. Any work I do with a camera I'd like to be for a film.

You can't ever let yourself be thrown by a camera. That's never good for an actor. When you're reading the script, you want to work with someone you trust so there's nothing to worry about.

The stigma that used to exist many years ago, that actors from film don't do television, seems to have disappeared. That camera doesn't know it's a TV camera... or even a streaming camera. It's just a camera.

There's two aspects of film crafting that I'm very strict about, and that's how I move my camera and where I cut the film.

A lot of the work I've been doing on camera has been me speaking on trans issues and illuminating things in a comedic way. That isn't the focus of my personal art, I guess, but it's a privilege for any artist to get to make stuff that isn't just about their oppression or strife or struggle.

I think that if you can convey a kind of a complexity, a mystery, a truth in stillness, that, to me, is really worth striving for, and I totally agree with Michael Fassbender in that less is more. If it's going on inside you, the camera will find it.

I was directing as a kid in movies, and that was always my strongest interest. When I was under contract at Universal, I conned an editing room out of them and spent my money to rent a camera and shoot film and make some movies.

As actors, we went where we wanted to, and the camera followed us: it was like having another person in the room. There was no formal structure to the process. It was very liberating.

In looking at Hollywood and its structure, the director controls the medium, and I want to be in control of certain things. I want to be able to get my own ideas and my own feelings out there, and the only way to do that is to be behind the camera.

Because I come from that old-school optics environment, I know stuff about depth of field and camera movement and things that are not necessarily a part of the curriculum for people who started on a box and have never done anything that wasn't on a box.

A photocopier is a camera in its own right. I was fortunate to grow up in the time and culture that I did. I was allowed to develop an awareness that the art that really moves me is actually based on an original image.

Every street in London has a camera, and if you ever travel up the M4, it feels as if George Orwell should be your chauffeur.

I'm a model, I have to be confident in front of a camera otherwise I wouldn't be doing my job.

If you ask me, we actors have this amazing ability to detach ourselves from an emotion and just do it for the camera.

Shooting on film is great because it imparts discipline: What do you need to see so you're not finding it in the camera. When I'm shooting, I have the scene in mind, where I'm going to have certain lines. I learned to overlap and to shoot more than I think I need. That was the learning curve.

But let's speak of art for a moment. Yes, art. I know a gentleman who makes excellent portraits. This gentleman is a camera.

The camera can photograph thought. It's better than a paragraph of sweet polemic.

Why should not the camera artist break away from the worn out conventions and claim the freedom of expression which any art must have to be alive.

And what other advances does the future hold, technology-wise? Even as you read these words, white-coated laboratory geeks are working on a revolutionary new camera that not only will focus automatically, set the exposure automatically, flash automatically, and advance the film automatically, but will also automatically refuse to take stupid pictures, such as of the wing out the airplane window.