Camera Quotes

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.

If I didn't have my camera to remind me constantly, I am here to do this, I would eventually have slipped away, I think. I would have forgotten my reason to exist.

You can't name the inventor of the camera. The 19th-century invention was chemical: the fixative.

So about twenty years ago I gave up on painting - and got into terrible debt after buying a load of camera gear!

I'm very in love with the fact that the camera is revolted by acting and loves behaviour.

I know a lot of people who are very good at their craft who have learned - people behind the camera - who really have a lot to offer because they know what they're doing, they know what to do, they've made their mistakes.

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.

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 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.

Whereas if you have a camera in the courtroom, there's no filtering. What you see is what's there.

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.

I can often tell when drawings are done from photographs, because you can tell what they miss out, what the camera misses out: usually weight and volume - there's a flatness to them.