“I never uttered a word about things, but with my age now, I've completely lost all reservations. In more ways than one. I was never in front of the camera, for example, but now I've been in films and documentaries.” WayAgeFilmLostFrontsExampleCamerasDocumentariesReservations Author:Giovanna Cau
“Real artists find answers. The knowledge of the artisan is within the confines of his skills. For example, I know a lot about lenses, about the editing room. I know what the different buttons on the camera are for. I know more or less how to use a microphone. I know all that, but that's not real knowledge. Real knowledge is knowing how to live, why we live, things like that.” KnowsDifferentRealUseArtistAnswersRoomsKnowingExampleSkillsCamerasButtonsEditingLensesMicrophonesArtisansReal KnowledgeReal Artists Author:Krzysztof Kieslowski
“If I had not lived the life I had lived and did not have the wife I have and the children I have, I would never know how to play that role [of Dr. Bedsloe], and I wouldn't have any of those qualities. It's a real example of how it is true that the camera catches everything. Even the stuff you're trying to hide.” IfsKnowsTryingChildrenRealPlayStuffQualityRolesKnow HowWifeExampleCamerasDrs Author:Kurt Fuller
“Making photos is helpful of course to master the craft. To get comfortable with the camera. Learn what a camera can do and how to use the camera successfully. Doing exercises for example if you try to find out things that the camera can do that the eye cannot do. So that you have a tool that will do what you need to be done. But then once you have mastered the craft the most important thing is to determine why you want to shoot pictures and what you want to shoot pictures of. That's where the thematic issue comes to life.” IfsWantNeedsTryingImportantDoneUseEyeCoursesCan DoIssuesExampleMastersExerciseComfortableToolsCamerasImportant ThingsDetermineWhat You WantCraftsHelpfulThematic Author:Leonard Nimoy
“Living in a time of the increasing struggle of the mechanization of man, photography has become another example of this paradoxical problem of how to humanize, how to overcome a machine on which we are thoroughly dependent... the camera.” MenProblemTechnologyStruggleExamplePhotographyMachinesOvercomingCamerasPhotographerDependentParadoxicalMechanization Author:Ernst Haas
“Even dramatically how you position some person, the depth, the existence [in 3D] is different than a flat image even though by itself it has depth, we create the illusion of depth. For example, some of the shots I have to stay closer to the actor because it's a young actor, I like it closer for some of the shots. I watch 2D scenes next to the camera, then when I go back to my station and watch it in 3D I have to go back and reduce his acting, he has to shrink a little bit because he peeks out more.” LittlesPersonsDifferentYoungNextActorsBitsActingExistenceWatchesExamplePositionSceneLittle BitIllusionShotsCamerasDepthFlatsStationsShrinksYoung Actors Author:Ang Lee
“Sexuality, eroticism and desire are important for all of us. But that is also the contradiction. How can we speak about pictures and, for example, say no to this way of representing a woman's body? It's also a camera-and-object problem, of who is really guiding the camera.” WayImportantProblemBodyDesireSpeakExampleObjectsCamerasSexualityContradictionRepresentingWomen's Bodies Author:Pipilotti Rist
“The biggest considerations I had were practical: how do you move such a large number of actors around a small space? So, for example, if I have to have the mother bring a pot of tea from the kitchen to the living room and serve it to the others, how do I, on a practical level, get everyone into the frame? Any decisions I made about the camera angles or movement came out of necessity, versus any sort of stylistic choice.” IfsMadeMovingMotherChoicesActorsSpaceDecisionLevelsRoomsNumbersExampleMovementCamerasPracticalsTeaKitchenConsiderationPotAngleVersusLiving RoomLarge NumbersSmall SpacesCamera Angles Author:Hirokazu Koreeda
“For example, in my dorm, at the University of Kentucky, I had the only camera. I don't think anyone came to college with a camera, other than me.” ThinkingExampleCollegeCamerasUniversityKentuckyDorms Author:Sam Abell
“Over time it just got more and more intense as far as the trust factor. For example, when we started editing the film [Dream of Life], I thought, man, I need to make sense of all the footage I have; I need to ground the film. And one day I was hanging out in Patti's [Smith] bedroom, which is where Patti works, and in the corner of her bedroom is this great chair, and that's when she began showing her personal things to me. The camera was there, and we realized that we were really making the movie and making sense of the footage in the movie.” MenNeedsDreamFilmExampleOne DayCamerasCornersIntenseFactorsMake SenseChairsHanging OutBedroomEditingPersonal Things Author:Steven Sebring
“I try to express in my films things that no other art can approach. In my monster films for example, I use special effects in the same way one would use a special film stock, a special camera, and so on. Monster films permit me to use all of these elements at the same time. They are the most visual kind of film.” WayTryingKindArtUseFilmSpecialEffectsExampleElementsApproachCamerasMonstersVisualsPermitSpecial Effects Author:Ishiro Honda