If I am at a party, I want to be at the party. Too many photographers use the camera to avoid participating in things. They become professional observers.
Fortunately, I've never been very conscious and inhibited of what I have to do. The camera's my soul mate.
I think that I need to work on being comfortable at being normal, everyday-ish on camera. Unlike a lot of actors, I think that's the thing that I'm not so comfortable with.
Janet: [talking to Brian's camera] Brian, it's you! Hi. I'm gonna try not to wake you up. I can't believe that I stayed over. [pulls gun from holster] Janet: This, this is interesting. I have never shot one before. Maybe that could be our next date. ...
[last lines] Narrator: And so began the journey north to safety, to our place in the sun. Among us we found a new leader - the man who came from the sky... the Gyro-Captain. And just as Pappagallo had planned, we traveled far beyond the reach of men ...
The function of camera movement is to assist the storytelling. That's all it is. It cannot be there just to demonstrate itself.
If I or any other black can deliver at the box office, I'll get a lot of work. Too many young actors, regardless of their color, try to play an attitude on camera and fail to remember their job is to fit into an entertainment.
Nothing. We're all friends and friendly. So when the cameras go down, depending on the mood or the nature of the material we're dealing with, there's usually a kind of a prevailing light attitude that's floating around.
I would often find myself, at the age of 21, at midnight, running down a dark street on my own with 10 men chasing me. And the fact they had cameras in their hands made that legal.
I used to sit near Marilyn Monroe in the Actor's Studio. She'd get dressed up because that was her identity. Sad. Those cameras wouldn't leave her alone. She didn't know where to hide.
In the '50s, I was traveling alone all over Mindanao, Basilan, all the way to Tawi-Tawi with just a camera and a notebook. I always stayed in the houses of Moros.
With reality TV, sometimes it's amazing chemistry and you get these gems that turn out to be everything you hoped, and the camera loves them and they just blossom on the show. And then sometimes it's not all you envision.
I went to college and got my degree in acting, but because it was all theater, I really consider my first couple years on 'Mad Men' as amazing training for working in television and for acting on-camera.
The IMAX cameras are big and heavy. And they're loud. So you have to be mindful of whether or not they're worth it; I'd say the image quality is incredible and the scale is amazing.
And then we watched an amazing number of movies from the late '60s and '70s, which is my favorite time, and we studied their camera movements, their stocks, the way they lit stuff, the colors they used.
What's done at night belongs to the night. In the daytime you don't talk about it.
In Hitchcock's eyes the movement was dramatic, not the acting. When he wanted the audience to be moved, he moved the camera. He was a subtle human being, and he was also the best director I have ever worked with.
I was extravagant in the matter of cameras - anything photographic - I had to have the best. But that was to further my work. In most things I have gone along with the plainest - or without.
We can't have cellphones, TV, radio or the Internet. If the president died, we'd have no idea. There's no normalcy. It's just like prison, with cameras.
My directors of photography light my films, but the colours of the sets, furnishings, clothes, hairstyles - that's me. Everything that's in front of the camera, I bring you.
You're gonna have to learn to get out there in front of those cameras and hold your head up. Take charge when you're singing.
