Because I'm shooting 'The New Normal' and 'Real Housewives of Atlanta' at the same time, so my schedule is double. I leave one show and go and shoot the other. The cameras are with me for, like, every day of my life. So I'm extremely tired.
I did take my camera along, as I felt there wouldn't be enough time to draw the things I wanted to do. I did some drawing and did a lot of photography but I was not part of Stryker's outfit at all.
I was hoping, actually, that being on the other side of the camera in a scary movie, see how it's filmed and maybe you won't be as scared next time you watch one... didn't really work out! Because I know it's fake, but I just get so into it.
I just think that I'll never have plastic surgery if I'm not in front of the camera. If you make your living selling this thing, which is the way you look, then maybe you do it. But trust me, the minute I'm directing or producing and not starring, I ...
Selma: [talking about musical films] You know when the camera goes really big and it comes up out of the roof, and you just know that it's gonna end? I hate that.
Richard Nixon: [a few seconds before the cameras begin to roll] Did you have a pleasant evening last night? David Frost: Yes, thank you. Richard Nixon: Did you do any fornicating?
[Scene of a beach at sunset] Vincent: [narrating] I was conceived in the Riviera. [Camera pans down to reveal Vincent's parents beginning to make love in the back of a Buick Riviera parked by the beach] Vincent: Not the French Riviera, the Detroit va...
Carl Denham: [just before he instructs Ann on how to act in front of the camera] I see you've put on the "Beauty and the Beast" costume! Ann Darrow: Uh, huh... it's the prettiest!
Lt. Col. Frank Slade: Your father peddles car telephones at a 300 percent markup. Your mother works on heavy commission at a camera store. Graduated to it from espresso machines. Hah!
Captain: [Standing in front of a hologram of the plant from EVE's camera] Haha! Look what I got, AUTO! AUTO: Not possible. Captain: [chuckles] That's right, the plant. Oh, you want it? Come and get it, blinky.
I like figuring out where I need to be mentally so that I'm not thinking about the camera and that it's second nature. I want to get to a place where I can exist within the confines of what you can do with filmmaking and not have to think about it.
With high-speed cameras, we can do the opposite of time lapse. We can shoot images that are thousands of times faster than our vision. And we can see how nature's ingenious devices work, and perhaps we can even imitate them.
On my set, people have to respect the actor's process. I totally respect what actors do. I give them whatever time they need, and I never scream out directions from the camera. I take the time to walk up to them and talk to them personally.
Music has its own emotional embodiment. It carries an emotion with it. When you associate a lyric with the music, it's much easier; but when you're standing there completely dry in front of the camera with no musical background, just a fine-tuned, ge...
With moviemaking, the audience always has to keep asking, 'What happens next?' If you have the wrong piece of music over a scene, people aren't going to get the scene. If you have the wrong camera angle, people aren't going to pay attention. That's a...
I do music because I can just pick up my guitar and sing, and completely satisfy, instant gratification. I don't need a script, I don't people, I don't need anything, cameras, I just have myself and my guitar, or keyboard.
In films, you are a commodity. You are a look, something that the camera really likes, something that has struck an audience in a certain way. It's not really so much about transforming yourself the way actors do onstage. I think there's a difference...
In the the late seventies and early eighties, I played background roles in thirty movies... Woody Allen movies, Scorsese films, you name it. Whatever was being shot in New York, I was doing stand-in and background work because I wanted to be close to...
I don't like improvising on camera, particularly, but very often, a scene will not be working, and you rehearse it once or twice, and you realize something's missing. So I'll play with it until it makes sense.
The mindset that I have on every project I take on is, 'How do I make this interesting enough for me to want to stop and look at it?' So in that regard, what I do behind the camera, whether it's still or motion picture, is the same.
After 2000 or so, I started to realize I wanted to be doing something else. I didn't want to be in front of a camera. I was frustrated. I didn't think I would stop acting, but I didn't want to be seen.
