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I admire people who can step out on their own and work alone - that takes a lot of guts. But I'd rather have the camaraderie on and off camera of working as a part of a group.
When I first began, the technicians, camera and makeup men made me feel so self-conscious that I began to have the biggest inferiority complex about my looks.
The joy for me of television is the sort of family feeling of being involved with an ensemble - the cast and the crew and the director of photography and the guys in the camera truck - and you're all coming together. There's a great feeling when that is a successful unit, a successful family.
Audrey was a princess, so natural, the camera really loved her... James and I kept each other company during all the rejections. We used to meet, have a cup of coffee and went from office to office to get work and never got work.
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.
Did you know that Kodak actually invented the digital camera that ultimately put it out of business? Kodak had the patents and a head start, but ignored all that.
I think eating in itself is the act of great sensuality, so all you have to do is point the camera in the right direction.
I think I'm becoming more relaxed in front of a camera. I suppose I'll always feel slightly more at home on stage. It's more of an actor's medium. You are your own editor, nobody else is choosing what is being seen of you.
I was on the yearbook staff, so I would take out film cameras and Nikons and take photos around school and at sporting events and things like that. We had a darkroom as well. I just loved it. I also saved up for a video camera to video my friends and cut and paste the videos together and I gave them to all of my friends for graduation.
Well, getting behind the camera is something I've always wanted to get involved with. Ever since I was doing movies like 'Zathura' I was very interested in all the different jobs on set and kind of soaking all the information up like a sponge.
Whether I am on a stage, behind a guitar or in front of a camera, I get paid to misbehave. Fortunately, misbehaviour is something I have unlimited supply of.
Even someone as photographed and aware of the camera as members of the royal family needs to feel completely comfortable if they are to look their best.
In front of the camera I look and I see visually what I've created.
My background is a small town with no movie theater. So... I always pictured myself onstage. I went to acting school and learned all the skills. I left early because I did my first movie and discovered that I really loved the minimalistic work with the camera.
I can't remember exactly how old I was when my parents gave me my first camera, but it was a Canon, and I was certainly far too young to have such a good camera.
If it's stage, the two most important artists are the actor and the playwright. If it's film, THE most important person is the director. The director says where the camera goes.
After the war, there was no industry. We lost the war. We had our whole city destroyed. No money. No studio. No film. No camera. No equipment. We would shoot in the street. We had no actors. Nothing. But we wanted to do movies. And we did the best movies in the world.
Dino De Laurentiis
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.
Cedric the Entertainer
Soap operas are like boot camps for film actors, so I really learned a lot. It was a masterclass in working for camera. I made myself watch myself every day. I would sort of try and be objective about it and critique myself a little. There's a lot more skill set than people realize in soap operas. They shoot, like, 35 scenes a day.
When you work with kids, especially, you want to be ready to turn the camera on at a moment's notice.
I have been trying to retire to the back of the camera for quite a few years, and in 1970, when I first started directing, I said, 'If I could pull this off, I can some day move to the back of the camera and stay there.'
I mean yes to act out something or take chances in the performance is one thing. But in terms of a camera, whatever's captured is captured so that's a little more daunting.
I don't know if I always want to be in front of the camera. I love producing, I love the camaraderie. I love the adventures. I love the stress.
As long as I have enough money for makeup artists, everything is okay. I feel young and very free. But one day, my face will be too old for the camera.
I can often tell when drawings are done from photographs, because you can tell what they miss out, what the camera misses out: usually weight and volume - there's a flatness to them.
John F. Kennedy
Martin Luther King, Jr.
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