When I act, I don't even know there's a camera there, don't care.
I dress according to the requirement of the film, as a true actor. Off the camera, I'm just me. I have my preferences and my personal style. Before I step out, I look into the mirror just to confirm that my style is intact. Beyond this, it doesn't matter.
When I first got signed, I bought a vintage guitar from the 1930s for £1000. I've bought a £400 SLR camera, too, which was quite extravagant.
When I get up in the morning I brush my teeth and go about my business, and if I am going anywhere interesting I take my camera along.
When I see someone filming me, I don't usually think, 'No, man, don't put this up online!' I'd think, 'Hey man, you don't get to go to shows very often, put down the camera and enjoy it!' I love going to theatre and to shows so much.
I love being in front of the camera.
So I was hugely thrilled that my first scene ever on camera was with Hal Holbrook.
A camera is a tool for learning how to see without a camera.
I am a different person in front of the camera; it comes as easy to me as breathing does.
When I was little, I would always try and look into the television screen along the sides. I kept thinking if you looked in there, you could see what was happening off camera.
There's something scary about acting always, because basically you do all this work in a vacuum, and then suddenly there's a lot of money spent making a film, and there's suddenly a camera here, going, 'Right? What are you gonna do?'
I'm someone who sits at a computer eight hours a day, and I look in that pinhole camera at the top of my screen and think, 'Someone could be watching me.'
What I do love is the traveling... and getting paid for it! I like being in front of a camera... It's an outlet. It's fun! If you look through my photo album, they are all modeling poses. My mom was a young mom, so she took tons of pictures of me.
People who have never done theatre before, and have only worked in front of a camera, would find it very difficult, I think, to know how to command a stage and work with the logistics of being on stage. They're very different. The theatre is quite tricky, actually.
My brother has endless footage of us as kids because he had a video camera when we were growing up. The trippiest part was my younger self predicting my future path, like a truth-seer.
I like the smell of film. I just like knowing there's film going through the camera.
I wore a GoPro camera on my head for all three of my boys.
When we say 'cinematic', we tend to think John Ford and vistas and wide-open spaces. Or we think of kinetic camera movement or of a certain number of cinematic styles, like film noir.
The terrible tragedy for every director is to watch an actor do what you want and not have the camera rolling - and never get it back again. So I always try to roll the camera before anybody's really ready.
For me, being in front of a camera is a matter of practicing and refining your art. I think, if you're telling a story worth telling, it's worth investing the time into developing.
I remember I had an actor friend - a close friend from college - Anthony Zerbe. He sent me a telegram before I started my first movie, 'Cisco Pike.' It said, 'Have a good time. Ignore the camera.' That was the extent of my training.
I didn't like the way I looked in pictures - when I saw myself on a digital camera, I was like, 'Eesh.'
'Donnie Darko' was my first audition ever! It opened my eyes to the possibilities within camera work.
So often, in my life, when you play a joke on another actor, you say, 'Hello? Steven Spielberg? It's for you.' What's it feel like? It's bizarre. He feels like he's a friend. He feels like he's some kid in the neighborhood who has a camera and makes films, now and then, and says, 'Would you come 'round and play?' It doesn't feel grand at all.
I always wanted to do something related to the camera. When you are young, these are dreams you feel embarrassed talking about. You don't want to be made fun of. That would leave a scar on an young mind.
No matter how many helicopters there are, when it comes down to it there is the camera and you.
TV helped me understand camera angles, close-ups, master shots.
I think I've spent more time in front of a camera than off camera. That's just the way it is.
When I was working on 'Men of Honor' with Robert De Niro, there's a pipe that he has in the movie, and it took us about six weeks to find the right pipe for him to use and feel comfortable with. It was a great choice, because it was really about what worked with the camera at that time.
I remember the beginnings of the Kurzweil reading machine. I was one of the first to meet Ray Kurzweil and purchase the reading machine in Boston. To think that the machine was at least two and a half large suitcases at the time, and now you have a camera and it takes a picture and you have sound.
Deep down, all directors feel like frauds - because it's built into the nature of the job. You're the jack of all trades and the master of none. The cameraman knows the camera, the sound man knows the sound equipment - and you? You can't do anything: You can't do the acting, you can't dress the set, you don't record the sound or shoot the images.
In 1976, Kodak's first digital camera shot at 0.1 megapixels, weighed 3.75 pounds, and cost over $10,000.
When I first started, I would go to Weist-Barron, and I studied with Rita Litton and ACTeen. For teenagers, it's a really, really great school. We did a lot of on-camera stuff, so you see yourself and what you do on camera.
You do have to wonder how Jack Bauer, maverick hero of '24,' can stay hidden for so long when no matter where he goes, he always seems within range of a TV camera. Or six.
My dad was always taking photos of us at home, and even on set - he'd bring us along and stick us in the photos in the background. It was almost the beginning of acting for me, like, 'Hey, you go over there and play basketball in the background, and don't even think about the camera.'
Microsoft Research has a thing called the Sense Cam that, as you walk around, it's taking photos all the time. And the software will filter and find the ones that are interesting without having to think, 'Let's get out the camera and get that shot.' You just have that, and software helps you pick what you want.
