Cameras Quotes - Page 27

I began making pictures because I wanted to record what supports hope: the untranslatable mystery and beauty of the world. Along the way, however, the camera also caught evidence against hope, and I eventually concluded that this, too, belonged in pictures if they were to be truthful and thus useful.

The best visual effects are when you shoot as much of what you can in camera. And it's really good for the actor's performance to have something real.

A digital camera has to be kept in check like a racehorse.

The camera adds ten pounds and ten thousand dollars.

If fact were enough, you could take a photo of the subject. Unlike the sensitive observer, however, the camera never selects or comments, never adds or subtracts.

My stepfather gave me a Kodak camera when I was 17 years old. I started working at a local photo store in Le Havre, France, taking passport pictures and photographing weddings.

At times those skills were really hard to do because not only was I having to contend with the camera, but I was having to learn these new skills and the ball was always kind of doing what you didn't want it to do. So it got a little bit frustrating at times but we got there.

Some people say the camera loves me, the truth is, I love the camera.

I'm always going to hear people make that connection and I've just accepted it. It's alright. I'm just happy that I get to do my own thing now. I learned a lot from the show [the Voice] as far as being in the TV world and being in front of the camera, which is really great because I'm not as nervous in front of the camera as I was before.

I'm always that annoying person that pulls out the camera in the middle of dinner and starts taking candids.

Making a film of a work you've played for six weeks gives you intimate knowledge of the character. By the time you go in front of the camera you've worked out the behavior and life of a character.

With a camera like that you don't believe you're in the masterpiece business. It's enough to be able to peck at the world.

I always just wait for the right material to come to me. Many times people ask, "What have you been up To?" Well, I'm here and working. Just not in front of the camera as much as I'd like to be.

I was a very imaginative and theatrical child and wasn't afraid of being in front of a camera.

It's strange, the lack of emotion, the absence of drama in reality. When things happen in real life, extraordinary things, there's no music, there's no dah-dah-daaahhs. There's no close-ups. No dramatic camera angles. Nothing happens. Nothing stops, the rest of the world goes on.

I've always done theater. I've never thought of myself as a comedic actress in any way. 'Anchorman' kind of cracked that open. When I got a small part in 'Anchorman,' I didn't know it was possible on camera to improvise. So I was like, 'What's happening?

It would be great to do another television show that was a multi-camera because the hours are so wonderful and you can be a good mom at the same time. The problem is, there aren't a lot of multi-camera shows that I personally like. My aesthetic is more geared toward single-camera shows.

I went to USC and tried to learn about the other side of the camera a little bit.

There is a tradition of television which isn't dross and stands up. Betjeman's programmes, which were made for 2/6d with one man and a cine camera, were amazing to watch because he was such a great talker.

I always felt that if you're not trying something different each time out of the gate, you're being safe, and you don't ever want to find that place of safety. I like that, each time, before I even go in front of the cameras, the studio's reaction will be fear.

We just said, 'Okay, you're in the movie. Bring what you would bring for a three-day weekend and I hope you like the way you look in it because once you're on camera, that's your wardrobe.' But it worked; it worked and we were very surprised.

Having done stand-up on television and in stand-up specials for like Comedy Central, you learn quickly that for that type of performance you're playing to the camera.

Acting time is like flight time: You can work on a simulator, you can rehearse, but unless you're really in front of the camera or on a stage - that's when you really learn how to work it.

The camera is a fluid way of encountering that other reality

Most times you do a movie every place except for what the camera sees is just a mess with the lights, people, and cameras so you get used to it. There is no way to shut that out, there is always a constant reminder of how many people it takes, what is going on and how many elements that goes into making this scene look right.