I'm always that annoying person that pulls out the camera in the middle of dinner and starts taking candids.
I know what it takes to go from the point where someone's looking at a newspaper article, and thinking, 'Oh, this would make a great TV series,' to the point where you're actually on a set and there's a camera aimed at someone.
I certainly never expected to be in front of a camera one day of my life.
The possibilities that come with thinking about the camera as a portal into the realm of information and services are attractive not only to Snap but also to every other big player in the tech world. Facebook, for instance, has slowly been enhancing the visual capabilities of its Messenger.
Usually, YouTube channels are named after the person that you see on camera... or in the case of ours, it could have been the show, but we didn't even name the company 'Red vs. Blue.' We named it something else to give people the idea that we were going to be doing more than that.
The reward is that you can actually create a world separate from reality with a story, actors, music, and camera design. When it works it can entertain, move people and teach us all.
Hitchcock makes it very clear to us. There's an objective and a subjective camera, like there's a third- and a first-person narrator in literature.
Making a pretty picture, an image, is a completely different thing from acting to camera.
Giving a camera to Diane Arbus is like putting a live grenade in the hands of a child.
The camera is not the instrument. People are always the instrument.
I always loved Japanese movies. And they had an enormous impact in France - the Nouvelle Vague took so much from them. It taught us how the camera was placed in the centre of the action.
My background is in VFX, and I know from experience that the best VFX are when you have something real in the frame that you can either extend or work off of. It was really important to get as much as possible in camera, for real.
The joy for me of television is the sort of family feeling of being involved with an ensemble - the cast and the crew and the director of photography and the guys in the camera truck - and you're all coming together. There's a great feeling when that is a successful unit, a successful family.
As a young person, and I know it's hard to believe that I was shy, but you could take your camera, and it would take you to places: it was like having a friend, like having someone to go out with and look at the world. I would do things with a camera I wouldn't do normally if I was just by myself.
Wanting to take a light camera with me when I climb or do mountain runs has kept me using exclusively 35 mm.
When the photographer is nearby, I like to say, 'Quick, get a photo of me looking into the camera,' because I'm never looking into the camera. Christopher Nolan looks into the camera, but I think most directors don't, so whenever you see a picture of a director looking at the camera, it's fake.
I learned everything from that show, so it's just a wonderful memory to me. A lot of people would be embarrassed to admit that they were on 'Barney', but I embrace the fact. I just had such a wonderful time doing that show... I learned what a camera and prop is, and all that. I learned my manners too, so I guess that's a good thing!
After I did nine years of a television series, I didn't want to do anything really that involved going to a set and being in front of a camera for quite a while. And when I did start to want to do things, I wanted to focus more on film.
My heroes are the camera crew and the electricians. They work such long hours.
The first dolly track was somebody who had the idea to put the camera on a boat on a canal. So the boat would move very slowly but steadily. So they would see all that surrounds you and you'd see the landscape changing slowly. So that was the first time.
I'm not so funny. Gilda was funny. I'm funny on camera sometimes. In life, once in a while. Once in a while. But she was funny. She spent more time worrying about being liked than anything else.
You get to the middle of a take that's going really well and the camera will run out of film. They have to stop you, apologize and then you've got to get things going all over again.
I'm always aware of the camera and it feels like that's the audience.
Back in the day, I actually studied photography in Florence for a few months, and my photography teacher took away my digital camera and said, 'No, use this - it's analog and it's square.' It was a Holga camera, a very cheap $3 or $4 plastic camera. And that's what inspired 'Instagram'.
'House of Style' changed my life. I literally had no experience in front of a TV camera before, and there I was taking over for Rebecca Romijn. My exposure heightened instantly.
I just fooled around in front of the camera and earned money for it. Every policeman, every soldier, every nurse - they all do more for society. I just rent my face.
I'm always taking pictures and travelling with a camera and have so many photos that I've done a book.
I'm very heavily involved in the editorial post-production process, and the camera - it's just such a big part of my storytelling language. I like creating the tension; I like creating the emotion through the movement of my camera, or the lack of movement through my camera, depending on what fits the scene best.
I love acting; I don't want to give up on it at all, but it would be nice to step behind the camera once in a while as well.
I paint what I see, not what a camera would see.
Kevin Costner has feathers in his hair and feathers in his head. The Indians should have called him 'Plays with Camera.'
For an actor working in television or film, I think it's important to understand how the medium works - how the camera and lenses work and how the sound and the editing works.
Well, getting behind the camera is something I've always wanted to get involved with. Ever since I was doing movies like 'Zathura' I was very interested in all the different jobs on set and kind of soaking all the information up like a sponge.
I've picked a camera up a few times. I remember buying my first camera when I was about 18 and really going wild with it, as you do as an 18-year-old, especially when you're in college.
I got five kids, and my oldest is a documentary film maker and camera man, and still photographer.
You can be in an acting class all you want, but you don't fully learn until you get off that stage and in front of a camera.