There's a gap between what I want to do, what I do on camera, and what gets edited. Right? So the goal is to try and close the gaps. What's the biggest compliment is if I read a review and it's exactly what I wrote down in my diary before ever filming it. That's really cool. That's the biggest signifier of closing the gaps.
The nude scenes were a little eerie and I felt a bit odd. Yeah, when the camera scanned up my body, I said to my friend, 'Now, that's a close-up.' I mean, you see every inch of my body. But I'm okay with it and so it was cool.
I can't hold a camera anymore.
When you're in the head of the character, you feel less self-conscious. If I was just being me, I would feel so exposed and be like, 'Why is there a huge camera in my face?' But, when you're believing in the person that you're playing, you feel protected. It's about being true to that person you're playing.
The truth is that when Lennon is Bosephus, she is so mean to me. She can't smile because the mustache will come off. So in between takes, it's just scowling. And then when we are on camera, Bosephus treats me like a piece of meat. I'm repulsed and also attracted to it.
With voice overs... you're not thinking about the camera. So your voice becomes this thing that you can manipulate. And depending on the character you're doing, it's all concentration on your voice.
I had no education in filmmaking. I started with a 8mm camera. I made 34 films, and little by little I gained more experience in filming.
It is part of my life, being in front of the camera all the time. It's not something that's new to me.
I am a little bit of an egomaniac. I like being in front of the camera, so I take advantage of it when I can.
We build camera rigs tailored specifically to the story we're trying to tell or the shot we're trying to capture.
The stigma that used to exist many years ago, that actors from film don't do television, seems to have disappeared. That camera doesn't know it's a TV camera... or even a streaming camera. It's just a camera.
I can only speak from my own personal experience, being behind the camera and in front of it, but every magazine cover you see is completely airbrushed.
We mainly shot 'Cartel Land' with the Canon C300. The camera was dropped, smashed, hit by guns, in dust storms, torrential rain, and it never, ever failed.
I hate it when you are watching a movie where the characters are on the news, and for some reason they shoot it with a 35mm camera or a 4K camera, and they just put it on the TV as if that's the way it would look - it always takes me out of it by putting a filter on certain things. If it's too high quality, you're never gonna buy it.
When I was a kid, there was no collaboration; it's you with a camera bossing your friends around. But as an adult, filmmaking is all about appreciating the talents of the people you surround yourself with and knowing you could never have made any of these films by yourself.
I remember my very first audition for a film. I was in Seattle. They were taping the session, and I just went crazy. The director finally said, 'Zoe, what are you doing? The camera's right here. Just talk to me.' And it took that director saying that to me to change everything.
I really, really love what I do, and there's nothing I love more than getting on stage and playing for an audience or working on a part, getting in front of the camera, and meeting all the cool people I get to meet, and going all the cool places I get to go.
That's what I look for in models: Someone who can tell a story and has a presence in front of the camera.
When we perform music at TV shows, we always try to do something that's not scripted because anything that's a surprise for the audience and the crew and the other performers, it works better on camera and for the people back home, too.
Polaroids were the instant thing to get a photo back when I started it. You had to wait two days to get your film back if you had a real camera, and I was more of an instant-gratification guy.
The first light-field camera array I saw at Stanford had a bunch of applications, like to do special effects like you see in 'The Matrix,' where you spin the camera around in frozen motion. It took up an entire room.
I'm technologically an imbecile. But I do use the camera phone!
I've never liked the moment of seeing something beautiful - a sunset, a moose, an elephant - and then raising a camera and trying to capture it for some future moment. That's always struck me as strange.
I travel, I read, I write, I have other lives. But when I have a camera, I know that's my country, my island.
Guys like Spielberg and Zemeckis and really anybody who is a storyteller-filmmaker today has studied Hitchcock and the way he visually tells a story. He was the master of suspense, certainly, but visually you would get a lot of information from what he would do with the camera and what he would allow you to see as the story was unfolding.
My first pictures are from 1972, and my first proper camera dates back to 1973. During the first year I used my father's camera. It had a flash on it, which I don't like, but I didn't know anything about photography back then, so it was just what I did.
I love when I go on set every day, because the camera people teach me camera terms and grip terms - I learn all these new terms from different people on the set and leave feeling all cool about myself when I go out places.
My first time in front of a camera, I said, 'Wonder Woman, I'm so glad you're here.' That's how I made a living.
I just think that I'll never have plastic surgery if I'm not in front of the camera. If you make your living selling this thing, which is the way you look, then maybe you do it. But trust me, the minute I'm directing or producing and not starring, I would never even think of it.
I accept all interpretations of my films. The only reality is before the camera. Each film I make is kind of a return to poetry for me, or at least an attempt to create a poem.
I can remember the moment when I suddenly felt that the camera was a living partner. I suddenly felt this is art, and the camera is a co-operative living person. After that I was extremely happy to act in films.
I think my role, I want to have a presence both behind the scenes and in front of the camera. So I can't say on one particular thing, so I'll just name them all. I'll be the jack of all trades and hopefully decent at one of them.
I have a great little camera, and I had a theory that if the story is interesting, it doesn't matter what medium you shoot it on. You just have to make a good film.
There's a lot of thinking when you choreograph something. You're not just choreographing some bodies, arms, legs flying around to look cool. It's a lot more complicated and sophisticated. You also have to deal with the connection of the whole film, so when I choreograph, I think of the movement itself, the camera angles, the characters.
I remember a picture on the front page of the 'Sun' during the Brixton riots: a rasta guy with a petrol bomb, and a headline saying something like: 'The Future of Britain.' And I thought: 'Wow! Look at the power of that image,' and I wanted to get behind the camera to make these people three-dimensional.
That is - the use of the subjective camera is an idea that's been around in movies for a long, long time. And it's an idea that was seized on very notably by Sam Fuller and by Alfred Hitchcock in two different very kind of - otherwise very different styles of filmmaking.
