Camera Quotes

Film and television is just a different technique in terms of how to approach the camera but basically the job is the same; but what you learn as a craft in theater, you can then learn to translate that into any mediums.

In motion pictures, the actor rules. The camera served the actor.

They had some really cool rigged cars and things that were different that they would tow behind the camera car that were actually on these trailers that manipulated side to side and stuff like they were getting hit, and actually put the actor right in the middle of the chase.

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.

Audrey Hepburn's face was made for the camera.

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.

I paint what I see, not what a camera would see.

You play a part, and as soon as a movie is over and the camera stops, you go home and you're not really responsible for what you've done.

When you're modeling you're actually acting for the camera and the photographer. It's more fun, too because there are no lines to memorize.

When you first are in front of the camera as a young person, you'd be surprised at all the insecurities you can get.

And the camera position, the organization, looking for repeating forms, shapes, trying to set up a visual rhythm seemed to come very natural. All of a sudden I was in a forest of aluminum and steel rather than a forest that we might think of in a traditional sense.

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!

I think we've shot scenes from every angle directors can think of to make it look like different villages. I've directed a couple shows on that set and believe me, it's impossible not to duplicate some camera angles.

I love the work, I love being in front of the camera and working with actors and directors and creating something. For me, it's like learning everyday.

We had a script that was really solid and we knew how we were going to shoot and how the energy of it was going to go. So it gave us a lot of freedom to use the camera as a character.

My preference is that, that day when someone sticks a tripod in front of you with a camera on the top, it is not day one.

I discovered the 7th art at home when I was kid, through Charlie Chaplin's movies and those of my father who shot documentaries. He was my biggest influence. So I took his camera and started shooting.

Every time you get on a stage or in front of a camera, the whole exercise is about imagination. You're constantly depicting something that doesn't exist, and trying to find the reality of it. Once you settle on that premise, everything else is a matter of degrees.

Usually you talk about directors in terms of the way they choose camera lenses or a kind of light to create a certain effect. But to me the most valuable commodity for a movie to create is a feeling of life, and that's what A Hard Day's Night has in spades.

Your camera is the best critic there is. Critics never see as much as the camera does. It is more perceptive than the human eye.

At times those skills were really hard to do because not only was I having to contend with the camera, but I was having to learn these new skills and the ball was always kind of doing what you didn't want it to do. So it got a little bit frustrating at times but we got there.

Well, I think the camera freedom is something that we've resisted for a long time and feels like probably the biggest stretch. But it has some huge benefits.

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.

I mean yes to act out something or take chances in the performance is one thing. But in terms of a camera, whatever's captured is captured so that's a little more daunting.

Where I think the most work needs to be done is behind the camera, not in front of it.

I have the insecurities of any actress, I suppose of any woman. Even the most beautiful ones feel unhappy. Look at Bardot: she was suicidal. But I like to play with the camera. I like to ham it up.

I think at this point, I'd eventually like to work behind the camera. That's not to say I would never act again, I'm not quite sure to be honest.

I learned quickly at Columbia that the only eye that mattered was the one on the camera.

I'm always reaching for something we really haven't done, and War of the Worlds has a lot of this sort of documentary look to it and first-person camera view that is a new thing for me. I've done some stuff like that before, but nothing like the extent of this and digitally.

Although I was entirely relaxed on camera, if I had to stand up and say something to an assembled group of people, I was rendered all but inarticulate.