I appreciate subtlety. I have never enjoyed a kiss in front of the camera. There's nothing to it except not getting your lipstick smeared.
People are fascinated, for whatever reason, by human drama, and the idea that cameras are capturing ambient stories.
I hate cameras. They are so much more sure than I am about everything.
There are so many ways to make a living that don't involve hiding in bushes opposite houses of 18-year-old girls with a camera in your hand.
I was never one for multi-cameras; my approach was always... I always considered there was only one place to be to do a shot.
Sometimes the character will go into a completely different direction than I expected once the cameras start rolling. That's what I love about what I do.
In the editing room, 20 percent of the time you're using stuff from before the actor knew the camera was rolling or you're taking a line from somewhere else and putting it in his mouth.
Shaun: [Last scene. Shaun drowns his St George's Cross Flag in a pond then stares mournfully into the camera]
Dr. Frederick Frankenstein: Damn your eyes. Igor: [to camera] Too late.
As long as I have enough money for makeup artists, everything is okay. I feel young and very free. But one day, my face will be too old for the camera.
Of course, I love chats with various actors about the process and how they do it. To me, if it's not on the camera, if it's not there, it's not worth it. It really just isn't worth it.
You always hear actresses talk about how unromantic it is to act a love scene or a sex scene - which it is. You're doing it with all these lights on and cameras flying around and people on the set.
I was never interested in becoming an actor. I was directing videos. I was never into acting. I was into shooting music videos. I've only ever been behind the camera. Never in front of it.
Taking employment out of the country - now that's taking away jobs. These shows employ a lot of people: production, post-production, music supervisors, camera people. A hundred people or more.
It's not easy to do morning TV. A lot of people think you just show up and be yourself, but one of the hardest things to do is be yourself when the camera comes on.
It's a weird scene. You win a few baseball games and all of a sudden you're surrounded by reporters and TV men with cameras asking you about Vietnam and race relations.
I'm surprised how many commercials and sitcoms and movies have a need for, 'We just need something to come by the camera that's really weird.' They call Doug Jones.
I always loved Japanese movies. And they had an enormous impact in France - the Nouvelle Vague took so much from them. It taught us how the camera was placed in the centre of the action.
When you are younger, the camera is like a friend and you can go places and feel like you're with someone, like you have a companion.
I choose things that challenge me. I was afraid of the camera - that's why I chose to do 'Private Practice.' It's not like I left the theater.
Before I became an actor, I was a visual artist, and I've always hankered for the storytelling behind the camera.
