I do have a concern about projecting. I've never projected or had any reason to project before. In fact, the camera has only gotten closer to me going from TV to film.
I've really learned over the years how to control my adrenaline and let it all out when they shoot the gun versus letting the crowd and the lights and the camera get to me.
When I watch myself on camera, in any capacity - being interviewed, performing, 20 years ago or yesterday - there's a part of me that really doesn't grasp that it's me.
I think half the battle is just being comfortable in front of the camera - and I already am, doing so many videos and interviews, so then it just takes that extra step of trying to get into character.
I think I was very shy and introverted when I was younger, and yet, when I got in front of the camera or went out on the town, I was able to go out half-naked and do anything.
As I started to develop as a director, I wanted to do projects that were inherently more cinematic, where the freight was not so much in the dialogue, where it would be carried more by the camera.
I'm attracted to working with comedians because they don't have that stars' idea of what a hero should be. The downside is they're always addressing the camera too much.
Wisdom of the Ages: "Ferguson Riots" They were ready to tear America to shreds over their grief-right until the TV cameras left to cover the football games.
Our enemy of international terrorism respects no laws of warfare or morality, and its individual members take innocent lives, just to create chaos for news cameras.
A lot of actors, they know the camera's there, and if somebody moves around or makes noise or whatever then they get all distracted, but I pretty much lock in. You can't distract me too much.
You will find hardly any improvising on camera anywhere in my films. It's very structured, but it's all worked out from elaborate improvisations over a long period, as you know.
There isn't really anybody who occupies the lens to the extent that Lindsay Lohan does. Something happens when she steps in front of the camera. There is this magnetic energy.
Anytime you're on camera, 95 percent of whatever character you're playing, unless you're Daniel Day-Lewis - or maybe, no, pretty much just him - you're cast because you're you.
I remembered a mantra that one of my teachers used to tell me at drama school, that every thought will pass across your face. Even if you're thinking about Shreddies the camera will read it.
As I have practiced it, photography produces pleasure by simplicity. I see something special and show it to the camera. A picture is produced. The moment is held until someone sees it. Then it is theirs.
Hitchcock makes it very clear to us. There's an objective and a subjective camera, like there's a third- and a first-person narrator in literature.
When you perform in front of an audience after only two days of rehearsal, you're flying by the seat of your pants - particularly when they're rewriting the show right up to the moment the camera goes on.
Because of the tension and difficulty, I remember trying to do the silliest things when we weren't rolling cameras, anything to lift the spirits. But once on set, it was important to have full concentration.
I always say that I've been in a bad mood for maybe 35 years now. I try to lighten it up, but that's what comes out when you get me on camera.
Nothing could be recorded in those days except by aiming a movie camera at the television screen. It was at least another 10 years before they had any kind of recording medium.
I like being involved in the lighter side of journalism because it serves a purpose, and it's fun. And I can keep my opinions off camera if I want.
