There was a sense of all the things that go on on the street, particularly in New York, that you are just completely unaware of, that that conversation could be happening at any time. I loved the instability of the camera. It's just an unstable world...
Often while traveling with a camera we arrive just as the sun slips over the horizon of a moment, too late to expose film, only time enough to expose our hearts.
I wish to present myself in front of the camera, each time under the features of a different woman. I would like to live and apprehend the problems, the conflicts, the feelings and the impulses of women radically different from me.
What I remember most about working on 'Sesame Street' is having fun in the green room with the other kids while waiting for my time to go on camera to work with the puppets.
In a way I feel completely frightened of dealing with other human beings at all, yet here I am sticking my face in front of a movie camera all the time.
I travel, I read, I write, I have other lives. But when I have a camera, I know that's my country, my island.
The problem with not having a camera is that one must trust the analysis of a reporter who's telling you what occurred in the courtroom. You have to take into consideration the filtering effect of that person's own biases.
I think that if you can convey a kind of a complexity, a mystery, a truth in stillness, that, to me, is really worth striving for, and I totally agree with Michael Fassbender in that less is more. If it's going on inside you, the camera will find it.
TV Director: [referring to Dr. Foster] Get that guy off the air! Camera man: What the hell's going on?
Livingston: The moment you set foot on that casino floor, they'll be watching you like hawks. Hawks with video cameras.
Christof: I know you better than you know yourself. Truman: You never had a camera in my head!
Nurse: You woke up? Nick Naylor: [off camera] Perhaps a bad choice of inflection.
We had two cameras, so they could turn it on and shoot as much as we wanted. You don't have to worry about wasting money on film. A lot more takes are possible.
I think technology has advanced so far now that there are some cameras on the market that give film a run for its money. It's all about flexibility in capturing images, and digital or film, it doesn't matter to me.
I accept all interpretations of my films. The only reality is before the camera. Each film I make is kind of a return to poetry for me, or at least an attempt to create a poem.
I always considered, with every shoot, I was on trial; every time I pick up my camera and start out on the relationship, I am at degree zero. There is no coasting.
If I went to them all dressed up and flashed a nice smile for the cameras it would probably be easier for me to get work. But I just can't tolerate it.
One of the things that I love about voiceover is that it's a situation where - because you're not encumbered by being seen - it's liberating. You're able to make broad choices that you would never make if you were on camera.
On-camera stuff just hit. I decided to do it to supplement my voice-over career, but I ended up falling in love with it, and it actually hit a lot harder than my voice-over career.
I do tend to like movies that challenge me professionally. That's mostly on a smaller scale, when you have one or two or five actors, and it's all about the acting and not the camera.
When I was a kid, I would make kung fu movies with the kids in the neighborhood, and I would be the guy behind the camera directing everybody, but they were all very silly little shorts and comedy bits.
