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Cameras Quotes

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Cameras Quotes

“This is going to sound crazy, especially in America where there is a total inflation of the word "love," but in a sense you have to love the people in front of the camera. There has to be trust between the one who is behind the camera and the people on the other side, so that they can relax. They have to feel they are safe, and that way they don't have to pretend just because they are scared.”

“I want every scene to feel electric and I try to finish the filming period with a clear trajectory: a beginning, a middle, and hopefully an end.I hate "fly on the wall." It infers that I don't relate to the people we're with and that I don't get affected by events. I like it when people talk to me. I never say things like "Don't look at the camera" - how bossy!”

“I get very close to people when I'm shooting them. We would go and shoot a scene with Lucy, and I would spend the whole time telling her about Rob. Then I would go shoot a scene with Rob and tell him all about Lucy. Eventually they wanted to know each other. These are two people who would never have overlapped in any other way or context. We brought to the garden at Rob's office and just sat and watched what unfolded. I remember weeping behind the camera, because I was so moved by the way they connected.”

“You can look at the Emmys two ways in you're nominated. It's either win-win or lose-lose. If things go very well and I win, you still have to get up in front of a group of people and risk having God knows what come out of your mouth. If you won't win, you have to breathe deeply and smile and clap with a camera in your face.”

“If you're into writing and making people laugh, or just want to video blog something, you should get a simple digital video camera. And all computers now come with an easy video editing software program. Just mess around with that for a little bit, try to figure it out, then just put stuff online and have fun. Never give up!”

“Don't ever for a minute make the mistake of looking down your nose at westerns. They're art - the good ones, I mean. They deal in life and sudden death and primitive struggle, and with the basic emotions - love, hate, and anger - thrown in. We'll have westerns films as long as the cameras keep turning. The fascination that the Old West has will never die. And as long as people want to pay money to see me act, I'll keep on making westerns until the day I die.”

“First and foremost, my hats off to our directors and camera department. That is something I will miss after Longmire. I can't imagine working on another show that looks like this. We'll get the whole crew out on location and have a hundred people standing around, waiting for about 40 minutes, so that sun is just a little bit further in the sky and the light is hitting the cloud, in the perfect way.”

“With mockumentaries, the conceit is that the characters are being interviewed, so you can start a scene and cut to a character looking at the camera and saying, "I'm working on this project," instead of having to figure out ways for people to talk naturally about what they're doing. You see this problem in pilots - people end up explaining things to each other that they'd never explain in real life.”

“I understand the opposite side of the camera. I have a profound respect for that. I have worked with people who, when you hit that mark, are doing 50 percent of your work for you. So, you know, it's a balance. When you walk into a mark and you're lit a certain way or something's happening so often you don't know what's behind you... And that's what's so strange about being a movie actor.”

“I've always thought that the President could do so much here to help change images. If the President would go into a public bathroom in the Capitol, and have the TV cameras film him cleaning the toilets and saying 'Why not? Somebody's got to do it!' then that would do so much for the morale of the people who do the wonderful job of keeping the toilets clean. I mean, it is a wonderful thing that they're doing.”

“[Cameras] tend to turn people into things and the photograph extends and multiplies the human image to the proportions of mass-produced merchandise and, [in the age of photography] the world itself becomes a sort of museum of objects that have been encountered before in some other museum and to say that the camera cannot lie is merely to underline the multiple deceits that are now practiced in its name.”

“The camera is one of the most frightening of modern weapons, particularly to people who have been in warfare, who have been bombed and shelled for at the back of a bombing run is invariably a photograph. In the back of ruined towns, and cities, and factories, there is aerial mapping, or spy mapping, usually with a camera. Therefore the camera is a feared instrument, and a man with a camera is suspected and watched wherever he goes... In the minds of most people today the camera is the forerunner of destruction, and it is suspected, and rightly so.”

“[Richard Avedon's] camera dwells on the horrible things that age can do to people's faces - on the flabby flesh, the slack skin, the ugly growths, the puffy eyes, the knotted necks, the aimless wrinkles, the fearful and anxious set of the mouth, the marks left by sickness, madness, alcoholism, and irreversible disappointment.”

“Photography today is accomplishing a lofty mission in which every German should collaborate by buying a camera. The German people is ahead of every other in the technical domain and, thanks to its exceptional qualities, the small camera has conquered the whole world... Much is at stake here from the point of view of popular consumer goods and, furthermore, photography has a particularly important political role to play. (Addressing the Berlin Photography Fair, 1933)”

“I guess in my house when I was growing up, I was comfortable trying to be funny. And my dad, of course, it bugged him sometimes. He was trying to rest, and I was constantly trying to say something stupid to get a reaction. But I like doing these movies. You can do it in front of the camera and then it's over. I don't have to worry about being in front of too many people.”

“[In comedy] you never want to leave the actors hanging out to dry. So you need to come up with funny individual stories for each character, and then you do this sort of comedy geometry, weaving them together. Once you've got a funny structure and you know why the scenes are funny, then you get super funny people to say your own lines, say their own lines, say things in their own way, and every scene is a live rewrite in front of the camera.”