I'm quite subdued, believe it or not. I switch it on for the camera.
I like figuring out where I need to be mentally so that I'm not thinking about the camera and that it's second nature. I want to get to a place where I can exist within the confines of what you can do with filmmaking and not have to think about it.
If you have a camera in the courtroom, there's no filtering. What you see is what's there.
I didn't need the insurance. I do it again if my DP tells me it didn't look good in the camera or if the actors didn't hit their marks. But if everything was working why do it again?
It had rained on some vivid green ferns in Maine and it was quite beautiful. I was moving the camera slightly and studying the ground glass. Looking at those 20 square inches, trying to find out just what were the right elements to include.
To have an opportunity to get in front of a camera every single day is just priceless because it gets you closer and closer to being less self-consciousness in front of it and really being human and really making choices and standing by them.
A film is never really good unless the camera is an eye in the head of a poet.
An amateur can be great in front of the camera, but you need an education to get on stage where you have full control as an actor.
I don't click pictures. People carry a camera with them while travelling, take pictures, keep them as memories, but I don't. I don't even have a camera.
I learnt a lot about how to negotiate the camera: everyone had told me an actor doesn't really need to do anything on screen, but I realised that wasn't true. If you do nothing, it's boring.
Haiti itself was also photographed, some of the streets, some of the mountains, rivers, streams, etc. were photographed before talking with me about how I felt about Haiti. Then the camera went to our voodoo temple and saw a serious ceremony, a real ceremony.
I'm not one of these actresses like, 'Okay, where's the camera? Is it here? Is it here?' I don't even ask the questions because I don't really want to know. I like not performing for a camera but giving it my best every single time whether you're close or whether you're far.
I like the days when all the filmmakers had was a film roll, a camera and a gangster. The Mack Sennett comedies were all like that. They'd create little teams to go out and shoot films.
It is unfortunate that the poor judgment shown by a small group of young actors has tarnished the reputation of every child who has ever appeared before a camera.
In classical oil painting, there seemed to be a radical turn to seeing things as the camera sees them, with that technological modification. I began to have a tremendous problem with all of this.
I don't like to move the camera that much anyway.
You don't just turn on a camera and do a cooking show. If you want to go somewhere with something, you've got to make it look like what it's supposed to look like five years from now.
We can't laugh quite as much on camera, but we sure do on the set.
Biologically, I'm lucky - an angular face and dark colouring which shows up well on camera.
Taking employment out of the country - now that's taking away jobs. These shows employ a lot of people: production, post-production, music supervisors, camera people. A hundred people or more.
One of the reasons why I created the podcast called the 'The Call-In' that we do through Array - because as a black artist, every time I sit down with mainstream media, I'm asked about issues of race, identity and culture. No one asked what they ask my white male counterparts, which is: 'Where do you like to put the camera?'
I'm quite comfortable looking at myself in movies, probably because I've been doing it for so long, since I was a kid. So I sort of watched myself grow up and go through adolescence, like, basically on camera.
Yes, I got my first Bolex camera a few weeks after being dropped in New York by the United Nations Refugee Organization. That was on October 29th, 1949. With my brother Adolfas, we wanted to make a film about displaced persons, how one feels being uprooted from one's home.
I had started off, before I ever got an acting job, working at Robert De Niro's Tribeca Productions as a reader. I was always interested in that side of the camera.
You have more time to work in movies. My experience with movies is that you have more time to experiment with the character and camera angles and things like that.
I rarely joke unless I'm in front of a camera. It's not what I am in real life. It's what I do for a living.
The reason bin Laden staggered the planes going into the towers was so every camera would be focused on the second tower when the plane hit. It was not only the murder, but the perpetual image of the horror that permeated into people's consciousness.
I love photography. My boyfriend's got a great camera, which I bought for his birthday.
You can do really slow movements with it, like zooming in for a minute and a half. The audience isn't aware that the camera has moved, but there's subconscious tension there.
I love so much the models from the '60s and the '70s. They were extremely professional, great models who knew how to work the camera so well and loved fashion and had a great sense of style.
There are times when you're working with film people when you have to say, 'If the camera were on you, what you're doing would be perfect'.
I smuggled the camera, it was no problem to smuggle the camera there. And I took 60 photos, two films, during the time when there was no one in the control room, in the building.
I've fallen down crevasses, been bitten by snakes, been knocked unconscious, had various limbs broken and once, a heavy camera came plunging down which very nearly decapitated me.
My upbringing has always been quite equal in terms of cultural influences. But it's unlikely that anything could prepare you for a job that involves belting out Proclaimers songs on camera, in Edinburgh and in public.
Obviously, when you walk into a room and see people like Ashley Judd and Morgan Freeman and Charles Martin Smith behind the camera, it's big time. You just try not to think about it, try and keep up, hold on for the ride.
With Altman, he does discuss everything with you, but then leaves you to it and gives you full rein and lets you improvise and create a character while the camera is rolling.
