I am in love with the idea of doing a movie in 3D. I think 3D would be great in a kind of realistic normal story without throwing objects to the camera, but using the 3D on the emotions in an intimate story.
When I made 'Eight Below,' they wanted me to shoot digital, and I didn't want to do it because that's just what I need, to get a great series of takes and then find out the camera was frozen.
I know what it takes to go from the point where someone's looking at a newspaper article, and thinking, 'Oh, this would make a great TV series,' to the point where you're actually on a set and there's a camera aimed at someone.
I know a lot of people who are very good at their craft who have learned - people behind the camera - who really have a lot to offer because they know what they're doing, they know what to do, they've made their mistakes.
At the beginning, Edo was a photographer, and I was more of a talent scout and doing styling and modelling. Then all of a sudden, in 1977, he gave me a Polaroid camera, and I discovered that instead of having to go to a lab and develop the film, I co...
You can always tell folks from nonfolks. Folks like to feel good, like to smile for the camera when there's a big photo opportunity for a really good cause.
There's a big difference to me between the people who are famous and just accept the fact that it comes with the territory of what they do, and the people who actively seek it out, who intentionally put themselves in the position of being on camera a...
For example, I spent a lot of time with Reagan, both before he ran for governor and when he was running for president. As a print reporter without the cameras, I was able to really test the quality of their minds and their knowledge base.
Being a photographer is like listening to music. If you have a camera, by just living your life you're bound to find some things that are worth taking a picture of. You don't have to be an audiophile to have taste in music. It happens through osmosis...
When someone's acting for a scene, they can fool the camera. But in everyday life, unless you're watching and censoring yourself every minute, or spending all your time in the company of ladies, what you feel is bound to show in your eyes.
Years ago - in the 70s, for about a decade - I carried a camera every place I went. And I shot a lot of pictures that were still life and landscape, using available light.
Usually you talk about directors in terms of the way they choose camera lenses or a kind of light to create a certain effect. But to me the most valuable commodity for a movie to create is a feeling of life, and that's what A Hard Day's Night has in ...
In the old days, before there was such a thing as film schools, directors learned the camera by watching other directors, and learning from their own dailies, and listening to the cameraman, and seeing what would work. Some of those guys could cut th...
I love being on stage or in front of the camera. My work brings me a lot of joy. It helps me figure out who I am. I'm really lucky that I get to make a living at acting.
I love the idea I can go off with a single camera and a few rolls of film unencumbered... I was not interested in the illusion of reality, I wanted to get close to what was happening.
I love improvisation. You can't blame it on the writers. You can't blame it on direction. You can't blame it on the camera guy... It's you. You're on. You've got to do it, and you either sink or swim with what you've got.
There's something very scary about exposing yourself on camera, knowing that you're going to be put on thousands of screens around the world for everyone to judge, but there's also something very thrilling and exciting about it.
We as comics do want an immediate response from the audience. It's really quiet on the set, and there are only the producers, and the director, so a comic is looking for someone to give a reaction, even if it is the camera guy.
'Olive Kitteridge' is the only thing that I've done on camera where we had a day of rehearsal before we shot, and I'm so glad that that happened, because I was so nervous.
With dancing, you have to know spatial movement with somebody. It is steps. It's literally steps and knowing how close to be or how far away. You have to have the beat in the right place with the camera.
'Planet Earth' was such an extraordinary series and the 'Making Of'... is fascinating: the creatures and stories behind the camera are just as fascinating as those in front. It's a bit of a dream come true to be a part of the team in some small way.
