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I play football, and most football players are camera shy. We just want to be left alone; we just want to stick to what we do.
But I can say what interests me about documentary is the fact that you don't know how the story ends at the onset - that you are investigating, with a camera, and the story emerges as you go along.
When I was an actor in some movies a long time ago, I was so curious about all the camera movements - why is the camera placed here, and why does it move like this? And why the set and the background, the color? It's a lot of questions for me to ask, because I was so interested, not only in acting, but also the whole process of filmmaking.
I feel that working with the camera and editing it is actually my strong suit.
Everything about filmmaking is incredibly weird, and there's nothing natural about watching yourself on the big screen or hearing your voice. It's that same thing that you feel when you watch yourself on a video camera and you hate the sound of your voice - it's that times 800.
Many times I've sat with a camera and another actor and seen all their fears and insecurities and struggles. You want to support them and help them as much as you can.
I travel, I read, I write, I have other lives. But when I have a camera, I know that's my country, my island.
In the next shot the cameras zoomed to the fiancee who noticed the lights in the Czarina's room go out and the camera then turned to the pond where two goldfish were making love.
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.
But if an actress asks me my opinion, I would tell her there are a million different designers who make faux fur. If you like that look, wear faux fur. If you're doing it on the red carpet, you're doing it for how it looks. Faux fur and real fur look the same on camera.
Sometimes I take the watch, or I take the shoes, but usually the souvenir is to take the life you had with those directors, or the crew - the camera person, the lighting person. When you finish a film it's like a little death. You had a family for a bit, and you finish the movie and you probably will never see each other again.
I get my flow from Daddy, my singing ability from Mommy, the camera stuff from both. That's just what happens when you hang out with the Smiths.
I've always had the utmost respect and awe of what the lens can do and what a director can do with just a camera move.
Matthew Gray Gubler
People who have never done theatre before, and have only worked in front of a camera, would find it very difficult, I think, to know how to command a stage and work with the logistics of being on stage. They're very different. The theatre is quite tricky, actually.
In motion pictures, the actor rules. The camera served the actor.
I just want to do more work. Every time I step in front of a camera I feel young again. I really do. It keeps your mind active and it keeps you going.
First and foremost I am a chef, whether behind the stove at one of my Northern California restaurants or for the past 15 years in front of the camera on my Food Network cooking shows. Creating new dishes and flavor combinations that bring cooks and our restaurant guests pleasure is my job and I love it.
My first experience with film was through a still camera. I would sit, very much against my will, with my father in the game reserve, watching some elephant or rhino or whatever, through a 400 millimeter lens and wait, and waiting and waiting.
I prefer working behind the camera.
I love the camera; there's something very special and sensual about it, and I have a tendency to call it a he, like it was a man. But, unlike a man, a camera is accepting of everything I do.
I typically shoot underwater with my regular camera in an underwater housing, and then I usually have two big strobes that I use to light. But with whales, you're not going to be able to really light a 45-foot subject. Your strobes are only effective for maybe five or six feet underwater.
I made a big mistake with him the first day I shot. We're shooting the scene where I come back from the party, the dance, in the sleigh with Julie Christie and we turn the corner and go past the camera and the camera follows us just a little bit and we disappear.
To have an opportunity to get in front of a camera every single day is just priceless because it gets you closer and closer to being less self-consciousness in front of it and really being human and really making choices and standing by them.
I come from Venezuela, from the independent film arena, and you work with one camera.
When I made my first film, I had hardly ever seen a camera before, and I was a young man when I arrived in Paris from the suburbs. At the time, I didn't talk much. I was very shy, so the bluff served me. I was telling people that I had no money, and that I knew how to make films, but I had no proof.
Martin Luther King, Jr.
C. S. Lewis
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