In silent movies, they tended to put the camera down, and everybody walked in front of it and acted, and then they all walked off. Cutting was quite infrequent.
Many times I've sat with a camera and another actor and seen all their fears and insecurities and struggles. You want to support them and help them as much as you can.
I love my camera crews on all my jobs. It's the half of the job that the audience never gets to see. They're integral. They're as much a part of making a movie or television show as I am.
Even if you're walking through the airport or going to pick up your mail, if you meet a fan and they have a camera, they will take a picture of you and millions could potentially see that picture - if it's picked up by a blog or whatever.
You talk about what a director, he was smart. He said, Turn the camera on!
The older you get, the farther from the camera you need to be.
I have been taking classes and I'm familiar with stage, but I'm not as familiar with acting on camera.
Oh yeah - I watched Knife in the Water, saw the shot, and repeated it. But even if I hadn't seen that film, inevitably the camera would've ended up on top of that mast, I mean if you think of it there are only so many dynamic shots on a boat.
As with instant replay, NFL Films' use of slow motion, camera angles and the narration of Facenda was not just a technical breakthrough but a conceptual breakthrough.
Being a shy person, I always felt strange outside with my camera.
Cooking for me is a way to wind down. It's different from cooking on camera, where you have to do everything twice, for a wide shot and a close-up.
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.
In the off season, you work out for two hours a day, and then you got all this other time off. I like doing other stuff. Football obviously isn't going to last a lifetime either, so it's always cool to get in front of a camera, do commercials, and do endorsements for products that you love.
I've learned survival secrets from being on camera, and then translated them into everyday life.
You play a part, and as soon as a movie is over and the camera stops, you go home and you're not really responsible for what you've done.
There is technique to it-he is just standing there flexing his arm, and I am standing there making faces as if I am being choked. You keep your head in a certain angle for the camera.
I want more girls to be able to see themselves behind the camera creating images we all enjoy, and I want to call attention to the fact that women directors are here all over the world.
One of the defining things about my career on camera is I like to play different characters. That gets difficult to do. People don't trust you to do something different. In animation, it's all about trust and how far can you go away from yourself. It's a really marvelous environment that's extremely creative.
Growing up, as much as country was a big influence in my life, the Rolling Stones and the Beatles and Led Zeppelin were such a close second. My first concert ever was the Rolling Stones in Denver. I snuck a camera backstage and filmed Mick Jagger during sound-check.
It never occurred to me that I was going to have to talk to a camera. I don't know if I can do this.
When you put a camera in front of me, I'm home.
I really love sort of classical cinema where people were telling stories with very little dialogue, and people were using the camera in a really interesting way.
One of the best things - and something I'm grateful for every time I walk onto a film set - is my six and a half years on Dawson's Creek and the experience it afforded me in how to get comfortable with the camera.
Instead of candidates hiring people, like yours truly, to create campaign media that works on both conscious and subconscious levels to sway the voting public, what if all TV ads were, by law, only allowed to feature the candidate, with, say, the American flag as the backdrop, alone, speaking directly to the camera?
I've been a big fan always of getting my camera in different places and trying to seek the unusual vantage point.
When I over-prepare, I try to let it all go and forget all about it when the camera rolls, so I can just be present with the other actors and allow what's going to happen to happen without too much preconception.
But the moment you use an ordinary camera, you are not seeing the picture, remember, meaning, you had to remember what you've taken. Now you could see it of course, with a digital thing, but remember in 1982 you couldn't.
Comic timing... is how to have a relationship with the camera and deal with the camera without looking like you are.
Before the camera, you only had secondhand takes - someone had to tell you what they saw or draw a picture of it or sing a song. Because of the camera, sometimes to our horror, we now know everything that happens in the world - things that before we were sheltered from.
I even agree with the new digital ways of filmmaking, where you don't even have physical film in the camera, but to be honest, I wouldn't want to use it.
Pick up a camera. Shoot something. No matter how small, no matter how cheesy, no matter whether your friends and your sister star in it. Put your name on it as director. Now you're a director. Everything after that you're just negotiating your budget and your fee.
I did this class when I first moved to California. It was a 'Kids on Camera' class up in the Bay Area. That was good for just getting me excited in acting and everything. Then once I started working down L.A., I just stuck to my acting coach, and she helps me prepare with auditions and that sort of thing.
If you put a camera on the wall, you would laugh at some of the fights me and my brothers had.
People bring camera phones into comedy shows and clubs and concerts, and sound bites never come out right.
I think you can really tell a good actor if you can put a camera on them and they can just talk and emote and react and you don't have to keep cutting away from them, because they are the language and the behavior. It's all a tour-de-force performance.
The rumor is Chu Hing really wanted the 'Green Turtle' to be Chinese American, but the publisher didn't think that would sell. If you read those books, the hero almost always has his back facing the camera so you can't see his face. When he turns around, his face is obscured.
