Quotes About Camera

I feel very confident and empowered before the camera, after working with Arjun Rampal.

I love being in front of the camera and entertaining. But I do respect women.

My entire career has been behind the camera, and that's definitely where I'm most comfortable.

Eventually I'm going to be too old to be on camera, and I've been doing stand-up a long time.

I got my first camera when I was 21 - my boyfriend gave it to me for my birthday - but at that point politics was my life, and I viewed the camera as a tool for expressing my political beliefs rather than as an art medium.

A lot of people don't like to eat on camera, but I eat on camera all the time. I'm standing in for the viewer.

I love Bollywood as a viewer, but going in front of the camera and singing and dancing is not my thing.

The difference between a regular camera and a 3D camera, for an actor, is really no different except that the turn-arounds are longer. It takes a lot longer to set up a shot because the cinematographer is really trying to set up a whole world, so it can't be more intricate and more beautiful to the viewers, in 3D.

Film gives us the luxury of deciding where the viewpoint of the audience is, and by knowing that, we can very effectively design around what is actually seen on camera.

And, you run also video because to fly this arm, you're relying mostly on some external camera views that may be coming from the arm itself or from the station.

I think we've shot scenes from every angle directors can think of to make it look like different villages. I've directed a couple shows on that set and believe me, it's impossible not to duplicate some camera angles.

I approach film no differently than I approach a role. I want to make sure the movie is right, the characters are right, I can really bring something to it as a visionary, a storyteller. It's great to point a camera, but can you tell a story?

Neil Mahoney was definitely the visionary in taking 'Freak Dance' from stage to screen. He made it more cinematic. He brought the choreography, all the ways to shoot that. I was more the director of actors. I was in front of the camera directing, and he was behind the camera directing.

Music became more of a film camera, or a microscope exploring all the details of a text. As a result all phonetic aspects of the text were assimilated into musical process.

You're just like a camera . Whenever I see you , I smile :)

I think people took a while to accept me for who I am, and I've learnt to articulate myself better when on camera.

For my first book, 'New York,' I had one camera and two lenses. It was fotografia povera.

The camera reacts with the speed of a human being rather than somebody who knows what's going to happen next. And that lets the comedy and drama play in a way which I think subliminally makes you feel like you're in the room.

Being in front of the camera was very liberating for me.

I had a chance to get used to the lights and the camera without all that pressure to... emote.

Most of my time is in front of the camera, so the little time that I get is mine alone.

When I get nervous my energy gets really still, and I think people think that's me. Everything gets really still, and my voice gets a little bit lower and there is a little croak in there - sometimes you can hear it when I'm really nervous on camera.

I feel like when you're dancing, especially how we're doing it on live television, you need to give that energy to the camera which is mainly with your face.

When the opportunity came along to do 'Win, Lose or Draw,' I took it selfishly to find out if I did enjoy being me on camera. And I did that for the last two years I was doing 'Mama's Family.'