Camera Quotes

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.

I think the digital camera would record that information too fast for me.

When we were doing 'Freaks and Geeks', I didn't quite understand how movies and TV worked, and I would improvise even if the camera wasn't on me. I thought I was helping the other actors by keeping them on their toes, but nobody appreciated it when I would trip them up. So I was improvising a little bit back then, but not in a productive way.

I bought my first camera in Seattle, Washington. Only paid about seven dollars and fifty cents for it.

I grew up in the '60s, which was a creative time, so it wasn't that big of a stretch to go from a baseball bat to a guitar to a film camera.

In the next shot the cameras zoomed to the fiancee who noticed the lights in the Czarina's room go out and the camera then turned to the pond where two goldfish were making love.

I'm much happier behind the camera.

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.

It never occurred to me that I was going to have to talk to a camera. I don't know if I can do this.

When you're in front of the camera, for a small budget or a big budget movie, there's no difference.

So when I became interested in photography and further being inspired by the work that I saw of Ansel and others, it was a natural extension to go back to these places that I knew as a kid and explore them with my camera.

I even agree with the new digital ways of filmmaking, where you don't even have physical film in the camera, but to be honest, I wouldn't want to use it.

When I'm about ready to press the cable release on the View camera, I've tried to anticipate some of the challenges I'm going to encounter in the darkroom.

No matter how fast I could do it with the digital camera I don't think I would get the same thing out of it. The passion I have for formulating an idea stands alone. It is the important essence of what I do.

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 feel more comfortable in front of a camera than anywhere else.

I used to hate doing color. I hated transparency film. The way I did color was by not wanting to know what kind of film was in my camera.

The camera is an instrument that teaches people how to see without a camera.

In Goodfellas they have this one scene where the camera goes down some steps and walks through a kitchen into a restaurant and the critics were all over this as evidence of the genius of Scorsese and Scorsese is a genius.

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.

Of the thousands of people, celebrated and unknown, who have sat before my camera, I am often asked who was the most difficult subject, or the easiest, or which picture is my favorite. This last question is like asking a mother which child she likes the most.

The camera fails to capture the 'business' in show business! We typically will give 10 percent of our salary to the agent, 10 percent to the manager, and 5 percent to the lawyer, plus the publicist gets a flat fee, which needs to be budgeted for.

People can't imagine an enemy that would cut someone's head off before a video camera and spread it out across the world. But that has happened with the kind of enemy we are now facing.

It's a heavy weight, the camera. Now we have modern and lightweight, small plastic cameras, but in the '70s they were heavy metal.

You had to make a camera look like it's traveling at 300 mph, but you couldn't make it actually travel at 300 mph so you had to slow everything down and build devices to do that. So you were constantly engineering.