Cameras Quotes - Page 23

I know every actor says this, but the people behind the camera are great. They always have answers.

Although I was entirely relaxed on camera, if I had to stand up and say something to an assembled group of people, I was rendered all but inarticulate.

Men still control the news, both on and off camera.

And I'm sure after Facebook it will be the little cameras that we have implanted into the palms of our hands and we'll be debating whether we should get them, and then we'll all get them.

I know I have the ability to do so much more than just stand in front of the camera the rest of my life.

I think I was afraid of what I might say when I got onto someone's stage or in front of someone's camera.

I'm able to move like no one else you've ever seen in front of a camera.

When we were doing 'Freaks and Geeks', I didn't quite understand how movies and TV worked, and I would improvise even if the camera wasn't on me. I thought I was helping the other actors by keeping them on their toes, but nobody appreciated it when I would trip them up. So I was improvising a little bit back then, but not in a productive way.

It is said that the camera cannot lie, but rarely do we allow it to do anything else, since the camera sees what you point it at: the camera sees what you want it to see.

My camera is my compass; it's guided me to so many different places.

When I am making a film, I know what to do in front of a camera. What frightens me are the scenes with dialogue. Sometime they really want me to speak perfectly and I don't like that.

Well, in terms of the filming with the car, you always wanted to be on the side which the cameras weren't, because - and it sounds ridiculous, but getting in and out of that car, all in leather, in the heat, was a problem.

My acting stopped being about disguise and became about truth which suits the camera, so my film career took off when I came out.

Because the writer must be a participant in the scene, while he's writing it — or at least taping it, or even sketching it. Or all three. Probably the closest analogy to the ideal would be a film director/producer who writes his own scripts, does his own camera work and somehow manages to film himself in action, as the protagonist or at least a main character.

In classical oil painting, there seemed to be a radical turn to seeing things as the camera sees them, with that technological modification. I began to have a tremendous problem with all of this.

The picture is good or not from the moment it was caught in the camera.

The world I feel, within the realm of art, is more genuine than the wrorld of matter. Artistic feeling is not tape measures, spectrographs, or flash camera lens.

You know, the camera is not meant just to show misery.

I was always in front of the camera. My mom was really passionate about photography - I have pictures of my whole life. I've always just been in front of my mom's camera and it's always comfortable to me.

The camera can represent flesh so superbly that, if I dared, I would never photograph a figure without asking that figure to take its clothes off.

I confess it, I love the camera. When it's not on me, I'm not quite alive.

I had improvised a lot in classes and at the Actors Studio, but I never did it in front of the camera.

Karl Malden was quite a mentor. He taught me things he had learned from being in front of a camera so long.

I think that there isn't a photograph in the world that has any narrative ability... They do not tell stories - they show you what something looks like. To a camera.

I could take a cow and implant a camera in it and let it amble around the city or in its own domain (I say a cow because a human being I would not trust). If the camera was programmed to go off at an indeterminate series of moments, the samplings would be fantastic.