Quotes About Close-ups

It's the most unrealistic thing you can do to shoot a close-up, and it's the most unrealistic place you can be as a performer. And yet actors grouse about having to do visual effect shots, but they love doing close-ups.

TV helped me understand camera angles, close-ups, master shots.

Dottie, spray her hair some more so that it can't fall forward. It's hiding her, um, profile." This was Jonathan the director's euphemism for cleavage, which always seemed to get more close-ups than the rest of her.

Two-thirds of American movies are extensions of commercials — they tell you how to feel and they tell you how to think — rather than letting you figure it out on your own," said Arkin, who has been acting since the 1960s and won the supporting actor Oscar for "Little Miss Sunshine." "Ben treats the audience like adults. He doesn't shove you into endless close-ups, and the music doesn't tell you what's going to happen next, which is something I hate in American movies.

Novels can do anything in the dark horrors of consciousness. Films do close-ups, car drive-ups, places, chases, and explosions.

The weird thing with 'Kismet' is that Vincente Minnelli didn't know what to do with a Cinemascope camera for that film - so he never moved it! It's like in the old days when sound first came in and was so complicated that the camera just sat there. There are hardly any close-ups in 'Kismet,' so everything's at a bit of a distance.

I am into nature and seeing whales. I went whale-watching, and I was really looking forward to that, but when you see it on TV and you see other programs do it, you're seeing close-ups of these massive creatures, and the music that's added gives you a certain feeling.

The great part of appearing on game shows is that when you answer a question the camera takes a close-up of you every time. You get more close-ups than in a movie, and that's terrific for audience identification. The people have to see you to like you.

The eyes are the windows of your soul, and when you're acting, they're one of your most important instruments. Especially for close-ups!

I saw the police thriller The Blue Lamp' and remember realizing the power that Dirk Bogarde as the gangster exerted over the audience simply by his expressions in the close-ups. I could see how the people around me reacted to him and realized that I wanted to have the same effect.

As a writer, one of the things we all learned from the movies was a kind of compression that didn't exist before people were used to watching films. For instance, if you wanted to write a flashback in a novel, you once had to really contextualize it a lot, to set it up. Now, readers know exactly what you're doing. Close-ups, too.

Storytelling is storytelling no matter what your medium is. And the language of film is also the same. You're still using close ups and medium shots and long shots. You're still trying to introduce the audience to a character and get then to care.

High-level actors can be all about their close-ups and the size of their trailers. I'd heard these horror stories of how a really powerful actor can come in and change your script.

I love being so tight on people in close-ups that the veins in their eyes look like the Mississippi River.

When I started, you didn't focus so much on production, certainly not - gosh - down to the finest little detail of how you shifted your eyes or how you turned to somebody. A lot of the shots were far away from a still camera. There weren't as many close-ups and intimacy.

In film, the camera can get an array of shots so the audience can see the emotion the character is giving off. Using close-ups on the character's face really helps get the message across. On stage, you can't do that. But the stage has that live feeling that you can't get anywhere else because the audience is right there.

It's strange, the lack of emotion, the absence of drama in reality. When things happen in real life, extraordinary things, there's no music, there's no dah-dah-daaahhs. There's no close-ups. No dramatic camera angles. Nothing happens. Nothing stops, the rest of the world goes on.

It's strange, the lack of emotion, the absence of drama in reality. When things happen in real life, extraordinary things, there's no music…There's no close-ups. No dramatic camera angles. Nothing happens. Nothing stops, the rest of the world goes on.

By the time I got to 'Silence of the Lambs,' I was madly in love with close-ups because I'm madly in love with actors, and a basic premise of 'Silence of the Lambs' is the story about two people fighting their way into each other's heads.

I don't mind close-ups, I like them, but they're kind of forceful - you see a lot, you get a lot of information in a close-up. There's less mystery.

I shot a lot of close-ups on this movie 'cause there's like a dual mystery, she's searching through her haunted past to find some truth and she's also following an external mystery where she comes to think she might be the killer.

In standup, you don't have anything near you except a microphone. There's something a lot more self-conscious feeling when there's cameras coming in for close-ups. It makes you very aware.

In films, the camera catches each nuance of expression in close ups. On the stage, it is less subtle, you have to act with your whole body.

Are you serious? What the hell does a stunt double do in a porno flick? Jake waved a hand vaguely toward his belt. Extreme close-ups. Uh. What? Historically speaking, it doesn't happen often. Especially what with Viagra now. But it isn't unknown for a director to bring in a double for the close of a scene, if the actor is having trouble finishing. I blinked. He thought I was a stunt penis? Jake laughed at my reaction. Man. You are new.