Quotes About Camera

The dog is the perfect portrait subject. He doesn't pose. He isn't aware of the camera.

Tak Fujimoto and I, when we started getting enough of a budget where we could afford the right lenses - 'cause we started out doing low-budget pictures together - we started experimenting with this subjective camera thing. And we kind of fell in love with the idea of using that as our close-up.

That is - the use of the subjective camera is an idea that's been around in movies for a long, long time. And it's an idea that was seized on very notably by Sam Fuller and by Alfred Hitchcock in two different very kind of - otherwise very different styles of filmmaking.

What makes a lot of suspenseful films work is very, very particular points of view and very subjective use of the camera.

A hidden camera must never become a lazy substitute for the rigours of old-style reporting.

In Hitchcock's eyes the movement was dramatic, not the acting. When he wanted the audience to be moved, he moved the camera. He was a subtle human being, and he was also the best director I have ever worked with.

I appreciate subtlety. I have never enjoyed a kiss in front of the camera. There's nothing to it except not getting your lipstick smeared.

Beauty, you're under arrest. I have a camera, and I'm not afraid to use it.

God creates the beauty. My camera and I are a witness.

God creates the beauty. Through my camera, I am a witness.

With modeling, you pose. You want to look your best all the time. With acting, you have to be aware of the camera, but the more you show your imperfections, the better you're going to be.

I was bullied as a kid, and I got a job on television. And I had a camera. And so I wanted to go after those business bullies. And I just have been following that instinct.

I've been around Hollywood and filmmaking long enough to know that it's a tricky dangerous business when you go on camera, you got to watch yourself.

It's been an extraordinary journey. I have learned so much along the way. I entered the modeling industry as a business person already. I always knew I belonged on the other side of the camera.

The camera observed me, but there was nothing in my bag except a pashmina, purse, and Lorazepam. I carried emptiness. Doors opened. Another camera recorded my progress. Doubtless there were thousands of my days repeated thus, interred digitally in limbo. I ascended two steps with nothing to look forward to

Let's go into the woods and take some pictures, you said. I found this old camera. Let go! you screamed. Let go of me! You have to let go, the counselor told me. Let go of what you're holding inside. I can touch the picture but it's not your face. I can touch the screen but it's not your face. Let go.

People think that theater actors are too big for the camera. It's like, 'No, we're actors and we adjust for our audience.'

I've always said the one advantage an actor has of converting to a director is that he's been in front of the camera. He doesn't have to get in front of the camera again, subliminally or otherwise.

I just think the more you're in front of camera, the better: my main aim is just to tell the truth, be natural, and believe in what I'm doing, and hopefully that comes across as a rawness.

Al Pacino never looks like he's being filmed.

Any time I approach a scene, it's not just what's on the page - it's how the camera's going to show or not show what's on the page. It's which character are we going to align with and what music is going to be playing.

An amateur can be great in front of the camera, but you need an education to get on stage where you have full control as an actor.

Andy was not a director and not a writer. He operated the camera a little bit, and he wasn't even so good at that.

Working in the media, on camera, you could become obsessed with your appearance and how you look. But I have tended to go the other way and I have become less obsessed as I get older.