If you're not going to tell something if you're not going to expose something it's real easy to go in and photograph from behind the camera and not expose any of your weaknesses.
I'm not an equipment nut. I tend to use whatever's to hand. I have several cameras, of course, but I'm not emotional about any of them.
I mean yes to act out something or take chances in the performance is one thing. But in terms of a camera, whatever's captured is captured so that's a little more daunting.
You can do really slow movements with it, like zooming in for a minute and a half. The audience isn't aware that the camera has moved, but there's subconscious tension there.
My father had a Super 8 camera when I was a kid and sometimes he would use it. I did some animation with it. I did a lot of flipbooks.
I always have a full-length mirror next to the camera when I'm doing publicity stills. That way, I know how I look.
A model’s opinion seldom matters. The only time that he is required to open his mouth is when he is required to smile at the camera.
I guess people wonder if I'm the same on camera as I am off, and I'm pretty much the same, I really am. But that's always asked of me.
Being a songwriter does not rely on an audience or other band members or a camera. I can just sit in a room and write songs.
I always take photographs when I attend a funeral. Most people there know who I am and expect me to be there with my camera.
Most of us, when we go out with a camera in our own country, try to find exotic subject matter to photograph.
We think of our eyes as video cameras and our brains as blank tapes to be filled with sensory inputs.
I had started off, before I ever got an acting job, working at Robert De Niro's Tribeca Productions as a reader. I was always interested in that side of the camera.
I got a camera when I was nine years old and it wasn't until I was a model that I realized you could be a photographer for a job.
I was really awful at auditions. There's something about sitting down and saying into the camera: 'I'm Nina and this is the name of my agent.' That makes me just die inside.
So about twenty years ago I gave up on painting - and got into terrible debt after buying a load of camera gear!
I can understand why those primitive desert people think a camera steals their soul. It is unnatural to see yourself from the outside.
And if you take the cameras out of the courtroom, then you hide, I think, a certain measure of truth from the public, and I think that's very important for the American public to know.
Then again, they're not scripted and I feel it's virtually impossible to be anything but yourself when you're in front of the cameras and cooking so there is a measure of truth in what you see.
If it's stage, the two most important artists are the actor and the playwright. If it's film, THE most important person is the director. The director says where the camera goes.
It's a question of dropping the armor and getting up and doing the work you want to do. And film at first is frightening because you are like, 'What's that camera doing?' But then it becomes family and therefore a really wonderful experience.
