Zitat des Tages über Kamera / Camera:
Some directors are really strong on action, manhandling you around the set; others are very focused on setting up the camera shots and practically ignore you. You have to get used to introverts, extroverts, directors who clown around for the crew, and the odd one who's monosyllabic.
One of the Life Saving men snapped the camera for us, taking a picture just as the machine had reached the end of the track and had risen to a height of about two feet.
If this validates anything, it's that learning how to bunt and hit and run and turning two is more important than knowing where to find the little red light at the dug out camera.
Hey, I fool the camera. I'm a liar, a magician.
Perhaps it sounds ridiculous, but the best thing that young filmmakers should do is to get hold of a camera and some film and make a movie of any kind at all.
As actors, we went where we wanted to, and the camera followed us: it was like having another person in the room. There was no formal structure to the process. It was very liberating.
When you first are in front of the camera as a young person, you'd be surprised at all the insecurities you can get.
Television is a prisoner of dialogue and steady-cam. People walk down a hall, and the camera follows them around a corner.
When the opportunity came along to do 'Win, Lose or Draw,' I took it selfishly to find out if I did enjoy being me on camera. And I did that for the last two years I was doing 'Mama's Family.'
I remember hearing someone say that good acting is more about taking off a mask than putting one on, and in movie acting, certainly that's true. With the camera so close, you can see right down into your soul, hopefully. So being able to do that in a way is terrifying, and in another way, truly liberating. And I like that about it.
I was very stale at Fox. Much of it was my own fault. I was lazy and didn't fight for things I wanted to do at other times. Most of my stuff consisted of setup/punchline jokes to the camera - a very old-school approach. I was part of the establishment, I guess.
War is the easiest photography in the business. Just get close, be lucky, know how your camera works. There are subjects everywhere. Everyplace you go, there is something to photograph in a war, like being in the middle of a hurricane or a train crash or an earthquake. You can't miss it.
When I have sex with someone I forget who I am. For a minute I even forget I'm human. It's the same thing when I'm behind a camera. I forget I exist.
I suppose I'm a bit mean. My face on camera doesn't lend itself to happy nice guys. I think it's just that my bone structure looks menacing.
You know, the camera is not meant just to show misery.
A camera teaches you how to see without a camera.
I guess people wonder if I'm the same on camera as I am off, and I'm pretty much the same, I really am. But that's always asked of me.
I also know what looks good before the camera, how to move the camera, and how to get a story on the screen.
George Lucas wanted this moving camera for all of the photography in Star Wars. He was willing to take a risk with the concepts that I advanced with regard to ways for doing that.
There's one right place to put the camera. I'm a big believer in that. You'd think you could put it anywhere. Nope.
The most difficult thing for me is a portrait. You have to try and put your camera between the skin of a person and his shirt.
The majority of my background is multi-camera format, which is very broad and a very arch perception of reality. Whereas single camera tends to be more truthful and a little more intimate of a medium.
I am the same on camera as I am off. I can't imagine being any other way.
Audrey was a princess, so natural, the camera really loved her... James and I kept each other company during all the rejections. We used to meet, have a cup of coffee and went from office to office to get work and never got work.
I saw that my camera gave me a sense of connection with others that I never had before. It allowed me to enter lives, satisfying a curiosity that was always there but that was never explored before.
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!
We just said, 'Okay, you're in the movie. Bring what you would bring for a three-day weekend and I hope you like the way you look in it because once you're on camera, that's your wardrobe.' But it worked; it worked and we were very surprised.
A style is not a matter of camera angles or fancy footwork, it's an expression, an accurate expression of your particular opinion.
So successful has been the camera's role in beautifying the world that photographs, rather than the world, have become the standard of the beautiful.
I'm always secretly the most pleased when a show just really, really looks good and when my camera guys are really happy with the images they got.
When I chose to do 'Carrie,' I never had done anything on camera before. I was always onstage, so everything surprised me. Just going on set and walking into a makeup trailer and seeing Chloe Moretz and Julianne Moore - 'Wow, I am part of this ensemble.'
It's the first film that I made where the director was not present under the camera, and it threw me.
I'm really shy with my acting when it's off, because the camera gives me an excuse to be in character, whereas otherwise I would just feel like an idiot.
I grew up around horses, but acting and riding on camera is a whole different thing.
The whole nature of photography has changed with the advent of a camera in everybody's hand.
The actor already comes with emotions to the scene: fear, the fear of being in front of the camera. It is this fear that spurs the emotion of the scene. I too am afraid; I don't know exactly what I am searching for. On the set, we are all participating in this fear together.