Camera Quotes

My father had a Super 8 camera when I was a kid and sometimes he would use it. I did some animation with it. I did a lot of flipbooks.

No matter how many helicopters there are, when it comes down to it there is the camera and you.

If you have what you want to say inside, and if you are crying for something that is true inside, it doesn't matter. The camera always sees it.

It ain't the picture and it ain't the camera - it's the operator.

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.

I have a wild game camera.

And then as I frequently do, some times I'll peek out from underneath the focusing cloth and just look around the edges of the frame that I'm not seeing, see if there's something that should be adjusted in terms of changing the camera position.

I'm definitely a Polaroid camera girl. For me, what I'm really excited about is bringing back the artistry and the nature of Polaroid.

There's just such a premium on hurrying, and the camera is the be all and end all, and the actors had better hurry up and get it right and get it done.

I've been in beautiful landscapes where one is tempted to whip out a camera and take a picture. I've learned to resist that.

That first year at Universal was a big blur and, naturally, I thought they were wasting me. I didn't realize at the time that I was learning my craft and acting more easily in front of the camera.

When I was teaching at Harvard in the 1970s, I went to Project Incorporated in Cambridge and took photography classes. I didn't even know how to aim the camera in those days.

I think you can really tell a good actor if you can put a camera on them and they can just talk and emote and react and you don't have to keep cutting away from them, because they are the language and the behavior. It's all a tour-de-force performance.

Men still control the news, both on and off camera.

Over and over again-in the movie, I have nine different people who have worked for Fox News network who have come forward and talked on camera, three of them anonymously, by the way.

I realized the exciting place was behind the camera with the producer, director and so on.

There was a sense of all the things that go on on the street, particularly in New York, that you are just completely unaware of, that that conversation could be happening at any time. I loved the instability of the camera. It's just an unstable world.

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 stumbled into this business, I didn't train for it. I yelled 'Action!' on my first two movies before the camera was turned on.

It's an incredible privilege for an actor to look into the camera. It's like looking right into the heart of the film, and you can't take that lightly.

When I over-prepare, I try to let it all go and forget all about it when the camera rolls, so I can just be present with the other actors and allow what's going to happen to happen without too much preconception.

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.

The possibility of being as free with the camera as we are with the pen is a fantastic prospect for the creative life of the 21st century.

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 know I have the ability to do so much more than just stand in front of the camera the rest of my life.

Everything seems really simple on paper until you take a camera out of the box.

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.

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.

I don't like to move the camera that much anyway.

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.