Sensitive people faced with the prospect of a camera portrait put on a face they think is the one they would like to show to the world... Every so often what lies behind the facade is rare and more wonderful than the subject knows or dares to believe...
I don't use film cameras. I don't do visual effects the same way. We don't use miniature models; it's all CG now, creating worlds in CG. It's a completely different toolset. But the rules of storytelling are the same.
The reason bin Laden staggered the planes going into the towers was so every camera would be focused on the second tower when the plane hit. It was not only the murder, but the perpetual image of the horror that permeated into people's consciousness.
I've fallen down crevasses, been bitten by snakes, been knocked unconscious, had various limbs broken and once, a heavy camera came plunging down which very nearly decapitated me.
I think I got an Instamatic camera when I was 8 years old, and ever since then, I've liked to record things. I don't know why. Maybe it's just to kind of try to leave some kind of record behind.
I think a lot of people like hidden-camera shows where they think they're spying on somebody who doesn't know they're looking at them. And nobody takes it seriously - you either enjoy it and get a laugh out of the reactions or not.
I almost never set out to photograph a landscape, nor do I think of my camera as a means of recording a mountain or an animal unless I absolutely need a 'record shot'. My first thought is always of light.
When I had my first camera - I was a child of the '80s. I remember what it was like reusing the same tapes over and over again, and having really bad quality and images kind of bubbling up from under the surface.
I really do believe the camera steals the soul. But that may be because I'm worried about my soul. I don't have much of a soul to begin with; I can't afford to lose much.
I plan to join the 'SNL' band as a maraca player and stand behind saxophonist Lenny Pickett. That way they will at least cut to me before commercial breaks. I'll be sure to look right into 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.
But the moment you use an ordinary camera, you are not seeing the picture, remember, meaning, you had to remember what you've taken. Now you could see it of course, with a digital thing, but remember in 1982 you couldn't.
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.
If you're a photographer, they give you a camera. If you're a writer, they give you a typewriter. If you're an umpire, they give you an unseen object and they call it a strike zone, and nobody seems to agree with you no matter what you call.
When you're working in front of the camera, there are always things that occur to you after the director has said 'Cut.' I could probably, if I sat down and thought about it, come up with instances where I wished I had made this particular choice or ...
Thank you... Apple, for adding a camera to the iPod Nano. Now it's just like the iPhone except it can't make calls. So basically, it's just like the iPhone.
With our blogs and tweets, digital cameras, and unlimited-gigabyte e-mail archives, participation in the online culture now means creating a trail of always present, ever searchable, unforgetting external memories that only grows as one ages.
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 have had such men before my camera my whole soul has endeavored to do its duty towards them in recording faithfully the greatness of the inner as well as the features of the outer man. The photograph thus taken has been almost the embodiment o...
There's an appetite for vigour in films. The camera loves a bit of movement. Movement is usually attached to younger people and men, and that's just the way it is. I think that it's a bitter pill to swallow, but it's a fact that there aren't going to...
Judge Joseph Palmer: You gonna be ok at the funeral tomorrow? That camera makes an appearance, we both know where it's heading, right? Dale Palmer: Up my ass. Judge Joseph Palmer: Good man.
