The photographs of space taken by our astronauts have been published all over the place. But the eye is a much more dynamic mechanism than any camera or pictures. It's a more exciting view in person than looking at the photographs. Of course, I personally am sick and tired of hearing people talk like that: I want to see it myself!
I photographed all kinds of sports - Formula 1, Formula Atlantic. And anybody who knows me knows that, from the day they invented video cameras, I used to lug them around when you had to carry the pack here and the big camera here, plus the diaper bag and a baby and the purse or whatever.
When someone's acting for a scene, they can fool the camera. But in everyday life, unless you're watching and censoring yourself every minute, or spending all your time in the company of ladies, what you feel is bound to show in your eyes.
If I'm reading a script, and I'm not buying it, I need to be able to relate to the character on some level, and they need to have more than one dimension. I need to have an idea of what this guy's thinking about when he's taking a shower not on camera. And if I can't picture him taking a shower and getting dressed, then he's not a real person.
I was molded, spent my time underneath a lot of goo. And then the bits and pieces were sculpted. It took probably 10 days to create each character after all those camera tests.
A lot of actors just do whatever they do, and wherever the camera is, it is. They don't pay much attention, but I always did. I was always very close to the camera crew. They were my best buddies, no matter what movie or show I was doing.
I'm never certain of a performance - my own or the other actors' - or the script or anything... But to me it seems there's only one place in the world the camera can be, and the decision usually comes immediately.
David Blaine, I think, was the first TV magician to really turn the camera around and make it about the spectator's experience. That's really what magic is all about.
I don't know if the camera likes me, but I do like the camera.
And, you run also video because to fly this arm, you're relying mostly on some external camera views that may be coming from the arm itself or from the station.
The film of tomorrow will not be directed by civil servants of the camera, but by artists for whom shooting a film constitutes a wonderful and thrilling adventure.
I really love being onstage - that's kind of home base - but I love the camera, too. I love it all.
I miss the camera each moment and each day.
It is totally different making films in the East than in the West. In the East, I make my own Jackie Chan films, and it's like my family. Sometimes I pick up the camera because I choreograph all the fighting scenes, even when I'm not fighting. I don't have my own chair. I just sit on the set with everybody.
I was one of the first veejays to take the camera out on location, and that's what was unique about MTV at that time.
I feel that doing theater does give you a good grounding to work on camera. The audience is the lens.
There are certain men and women who, from the minute they step in front of a camera, that's exactly where they belong. Connery's one.
I checked myself out in that funeral parlour scene. I saw myself laughing, because there was a shot of Ed and I together and Mary was right in back of us. My head turned from the camera and I saw myself laughing, because Mary was absolutely brilliant in that thing.
When I first began, the technicians, camera and makeup men made me feel so self-conscious that I began to have the biggest inferiority complex about my looks.
I got roles from good production houses, though I wasn't keen on them, as I was asked to - and I won't - wear a bikini in a film. I'm not conservative, as I'd wear it on holidays, but definitely not in front of the camera. I have to think of my family.
The trick is not to become somebody else. You become somebody else when you're in front of a camera or when you're on stage. There are some people who carry it all the time. That, to me, is not acting.
There's always going to be that pressure when you're in front of the camera. When you're famous it's just an extreme version of reality and there's a pressure to look a certain way.
While all the other kids were out playing ball and stuff, I used to stay in my room and imagine that there was a camera in the wall. And I used to really believe that I was putting on a television show and that it was going out to somewhere in the world.
A lot of people think theatre must be much harder work than film, but anything histrionic or superfluous gets seen on camera so you have to work to distil it into a complete sense of what's true.
VR should be more emotionally involving, but that doesn't happen automatically by just taking a VR camera and sticking it onto what would be a traditionally blocked scene for 2D.
When I'm photographing, I think - like any rescue worker who deals with tragedy - you have to have some protective barrier around your heart so you can do your job. You tend to have a delayed reaction to things. I feel things more deeply after I put the camera down.
I spent every day just praying that I didn't look like a big dork on camera.
When I started getting in front of the camera a lot, I think my confidence started to come out.
I think I got an Instamatic camera when I was 8 years old, and ever since then, I've liked to record things. I don't know why. Maybe it's just to kind of try to leave some kind of record behind.
The camera is interested in what you are thinking as opposed to just what you are doing or saying.
Because I come from that old-school optics environment, I know stuff about depth of field and camera movement and things that are not necessarily a part of the curriculum for people who started on a box and have never done anything that wasn't on a box.
The camera cannot lie, but it can be an accessory to untruth.
In social situations, when I'm surrounded by people, I become very shy. But if there's a camera in front of me, I feel free.
We had the guys from X Men 2 do the cameras. They had a 360 camera that would go from one car, up in the air and over to another car in a continuous shot while the film was still rolling, going 90 mph.
Just having the camera, being able to pull back from situations and be an observer, it saved my life... I realised I could find these intimate moments and that people trusted me. That, basically, my camera was magic.
And I also have a camera, a Web cam, and I have one at home, so I can hook up and talk to the girls, and they can see me while we're on the bus in the middle of nowhere.
