I like being on camera, performing, seeing what people have in common.
I would like to see more films being made with people of color behind the camera and in front of the camera, because the more times at bat we have, the better we get.
On more than one occasion, the camera has cut to me after a break as I'm still trying to swallow the last bite of cookie. Those of you who have thought to yourselves, 'That guy talks like he has marbles in his mouth,' should know that they are not marbles, but oatmeal cookies.
But if an actress asks me my opinion, I would tell her there are a million different designers who make faux fur. If you like that look, wear faux fur. If you're doing it on the red carpet, you're doing it for how it looks. Faux fur and real fur look the same on camera.
I'll get cast occasionally as sort of the jerk version of myself, and I have fun doing that. But it's really better for everyone if I stay behind the camera.
I have a book! It's called 'How Does She Do It?' and it's 35 years on camera.
That Shaw is the most egotistical thing! He hogged the camera and spent more time with the hairdresser and the makeup man than any actor on the lot!
The camera relieves us of the burden of memory. It surveys us like God, and it surveys for us. Yet no other god has been so cynical, for the camera records in order to forget.
I've always felt comfortable in front of a camera. Either you're good at it or you're not good at it.
I typically shoot underwater with my regular camera in an underwater housing, and then I usually have two big strobes that I use to light. But with whales, you're not going to be able to really light a 45-foot subject. Your strobes are only effective for maybe five or six feet underwater.
What's funny is, I was always certain that I couldn't be a director because there are things about the physics of camera and lighting that I fundamentally cannot wrap my head around.
Once you learn how to free up in front of the camera, it's like nothing else.
One of my fantasies in my life has been that I was granted access with a camera to go back in time, and to film the actual campaign of Alexander crossing into India through Iran and Persia.
We put too much on contemporary dancers. A lot of them cannot change styles; a lot of them can't do anything else other than run around the stage reaching and stretching in anguish to somebody off camera that I never understand who it is. But it's the teenage angst they have to live with.
The very first video experience I had was in high school. They brought a black-and-white closed-circuit surveillance camera into the classroom. I will never forget, as a kid, looking at that image.
The camera makes you forget you're there. It's not like you are hiding but you forget, you are just looking so much.
Ansel Adams rattled around the Southwest with his battered truck and his view camera, which looked like a giant accordion with a lens attached to it.
I was in a hotel with my dad, and I was just joking around and said, 'Oh yeah, Daddy, I want to model.' I don't know - the camera is just fun.
My truest passion is writing, so I continue to do that on my own while seeing what all the buzz is about being in front of the camera.
When you're shooting with long lenses, even if you're shooting a close-up, you feel the air, the distance between the camera and the subject.
I've never acted, but I'm an entertainer. So I kind of used what I know from being onstage. I've done a thousand and two interviews, and I've been on camera a million times, so I'm not uncomfortable on camera, but it was interesting for me to be someone else.
I wish to present myself in front of the camera, each time under the features of a different woman. I would like to live and apprehend the problems, the conflicts, the feelings and the impulses of women radically different from me.
I wonder how Colin Powell sleeps at night. I would like to have a word with him because he lied. He lied. He lied to me. He lied to my face through the camera at the U.N.
I like to know where the camera is.
When I'm on an adult set and I'm in a scene, I am myself. I'm not acting. I am playing to the camera, definitely, but I am myself.
I'm a very private person. I don't go out much. I'm home with kids. I go to work. I don't really like being the focus of attention, which is why I like being behind the camera more.
Basically, with a regular camera, you have to take time or allow the camera to focus before you take the shot.
On 'Y Tu Mama Tambien,' we started exploring shots that are longer, where the camera is moving around the actors, and there are no cuts, and you feel like you're there.
Among other things, I use a Samsung mobile phone, a very bad quality video camera, and an old Olympus with extremely bad Sigma lenses.
Even today, my father watches my films only in the theatre with the general public. And he's very tough. His first call will be to the director and the camera man, and only then will he send me a message.
The true excitement comes from the actors - that gives you the true drama - and whatever I can do with the camera, that's icing on the cake.
The thing is that when you don't carry a camera, that's when you see pictures in particular, or at least that's when you think you see pictures in particular. When you do carry it, if you do see one on the occasion that you do, you can take it.
If you've seen a photo of me from when I was a kid, I don't think anyone would have expected that going in front of the camera was something that I was going to do. I can't believe how little effort my parents put into making me seem like an appealing little girl.
You know, every time it comes, every time that light comes on or every time that camera comes on, every time that microphone comes on, the Mac Man seek and destroy.
My stepfather gave me a Kodak camera when I was 17 years old. I started working at a local photo store in Le Havre, France, taking passport pictures and photographing weddings.
Doing film and television demands a kind of simplicity. If you think something differently, the camera will pick it up.
