'Out of Sight' is one of my favorite films ever. Love Steven Soderbergh. 'Goodfellas' was a huge influence on me in terms of the use of camera. 'Black Orpheus,' a beautiful love story that very few people actually have seen, and that was an influence on 'Beyond the Lights,' too, in terms of the look of the film.
I think the digital camera would record that information too fast for me.
I've just written this six-part sketch comedy series, which I've never done before. And I don't know how to pitch it. Am I supposed to just pick up a camera and put stuff on YouTube? Is that how it works?
I'm able to move like no one else you've ever seen in front of a camera.
Drive through a yellow light, and you may be ticketed thanks to a camera tied onto a pole. Everybody's watching everything. And then sending it out to the world via email.
Ambitious of vision and swooping of camera, 'I, Frankenstein' is no 'I, Robot,' let alone 'I, Claudius,' but it's definitely watchable on a cold Jan. evening or, a few months from now, on your I, Pad.
I personally think a fight scene is the most cinematic thing you can witness because all the elements of filmmaking come together, you know, with the camera speed changes, editing, make up effects and general smoke and mirrors of trying to make it look like you are hitting someone when you're not. It's filmmaking in it's purest form, I think.
There's always a certain amount of camera improvisation.
I'm very in love with the fact that the camera is revolted by acting and loves behaviour.
I love taking pictures. I'm always the one with the camera!
Whereas if you have a camera in the courtroom, there's no filtering. What you see is what's there.
My dream concept is that I have a camera and I am trying to photograph what is essentially invisible. And every once in a while I get a glimpse of her and I grab that picture.
I tried to keep both arts alive, but the camera won. I found that while the camera does not express the soul, perhaps a photograph can!
When you perform in front of an audience after only two days of rehearsal, you're flying by the seat of your pants - particularly when they're rewriting the show right up to the moment the camera goes on.
Well, I mean, you have an emotion, you want to express it. You don't just look in the camera and do it. You want to hide from the embarrassment of your brother saying you're not allowed to come into my town.
I don't remember the first picture I took, but I actually found a picture of myself on a trip back to my old family home in Malaysia. I'm five years old, sitting on the floor with the family camera in my hand. It was a film camera - not a DSLR - with a fixed lens and a nice manual zoom.
My business partner gave me a drone, a small helicopter you pilot with an iPhone, and also it has a camera so you can see what it sees on the iPhone. Great fun. I fly it outside in Portugal. It's wonderful to oversee gardens.
Lesson number one: Pay attention to the intrusion of the camera.
I just want to do more work. Every time I step in front of a camera I feel young again. I really do. It keeps your mind active and it keeps you going.
My first modeling job was Gap, and my first time in front of the camera was for a Soda Pop Girls commercial - it's one of those Bratz dolls, Barbie dolls... one of those.
John Kerry was always in front of the camera but not out doing the hard work.
I went on a cross-country trip with three buddies to find out what our generation is about. I bought a video camera, started shooting, learned as I went, and ended up with 'Our Time,' a feature-length documentary about what it's like to be young in America. I was hooked.
It's usually so fraught when you're taking a picture. I work with an 8-by-10 view camera and there's a, you know, hood that I put over my head, and it's tricky and complicated.
I grew up in the business since I was three years old so I've always kind of been in front of the camera and grew up in commercials and I knew that I wanted to do it no matter what, I just loved it.
My co-stars call me selfish. They say, 'You are only interested in yourself and what you are only interested is yourself and what you are doing in front of the camera.' I reply, 'I can't help it; it's what got me where I am.'
I still enjoy acting. I love the moment in front of the camera, but it's all the other moments that I don't enjoy. The 'business' aspect of it, the gossip.
I don't write tracking shots in my screenplays or any camera directions, but I do try to give a sense of how the action is moving.
I moved to L.A. to write and direct. I had no intentions of being in front of the camera.
'Hollyoaks' is where I learnt a lot of the craft, being in front of a camera six days a week. That's certainly an experience you don't get in drama school. It invites you to be comfortable in front of the camera.
Anytime you look at someone in detail, you're putting the camera on that person. What I typically look for is one or two or three really strong characters who will hold the narrative throughout the work.
One of the advantages of this found footage format is that you can have deliberately badly composed frames. Here we can put a camera in the weirdest angle and it kind of throws you off. You never know what you are supposed to be paying attention to. It's deliberate chaos.
I started in documentaries. I started alone with a camera. Alone. Totally alone. Shooting, editing short documentaries for a French-Canadian part of CBC. So to deal with the camera alone, to approach reality alone, meant so much. I made a few dozen small documentaries, and that was the birth of a way to approach reality with a camera.
If I or any other black can deliver at the box office, I'll get a lot of work. Too many young actors, regardless of their color, try to play an attitude on camera and fail to remember their job is to fit into an entertainment.
I use the computer as a tool. Like chance or the camera or the other tools I've used, it can open my eye to other ways of seeing or of making dances. It's not simply to do a trick.
I used to fly around the stage without strings or camera tricks. That took seven years to create.
I plan to join the 'SNL' band as a maraca player and stand behind saxophonist Lenny Pickett. That way they will at least cut to me before commercial breaks. I'll be sure to look right into camera.
