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I personally think a fight scene is the most cinematic thing you can witness because all the elements of filmmaking come together, you know, with the camera speed changes, editing, make up effects and general smoke and mirrors of trying to make it look like you are hitting someone when you're not. It's filmmaking in it's purest form, I think.
You talk about what a director, he was smart. He said, Turn the camera on!
I dress according to the requirement of the film, as a true actor. Off the camera, I'm just me. I have my preferences and my personal style. Before I step out, I look into the mirror just to confirm that my style is intact. Beyond this, it doesn't matter.
When you're an actor or actress in this business, usually the natural progression is to direct, but a lot of times, we don't get a chance to get to it. Myself, I really want to get into it. I want to be the person who eventually doesn't have to be in front of the camera.
I don't really have a favorite camera. I use a Leica and Canon a lot. It depends, especially professionally, on the requirements. But my carry-around camera is a Leica.
I guess people wonder if I'm the same on camera as I am off, and I'm pretty much the same, I really am. But that's always asked of me.
I'm used to being in front of camera and knowing what to think. But if you're asking me to be me, I get very self-conscious. My job isn't to be me. Being an actor, people think you can do a eulogy at a funeral, a speech at a wedding. I find all that very nerve-racking.
I've always been involved with all aspects of my careers. Being behind the camera seems as natural as in front.
I still enjoy acting. I love the moment in front of the camera, but it's all the other moments that I don't enjoy. The 'business' aspect of it, the gossip.
Back in the early days like for the Temptations, Supremes and Four Tops, artist development was alive in record companies. Every artist had a moment to develop the record visually. When the web took over and camera phones, it stripped the artists of the power to figure it out. So there's a need to bridge that gap and that's my job.
It's hard for me to assess what I brought because each time you pick up a camera and point it at a person, you're trying to define that person so to talk generally is difficult because I have to think of a given image in order to conjure up what we're talking about.
I have nothing snarky to say about Joan Rivers' appearance. We should all be that happy with how we look on camera, frankly.
When I watch myself on camera, in any capacity - being interviewed, performing, 20 years ago or yesterday - there's a part of me that really doesn't grasp that it's me.
In Rio we built a Center of Operations, a situation room that gathers information from municipal departments and allows us to manage and help decision-making. I can check the weather, the traffic and the location of city's waste collection trucks. Each of 4,000 buses in the city has a camera connected to the situation room.
You think the only thing looking at you is this steel thing, but behind the camera is this living, breathing person operating the camera whose job it is to watch you.
I choose things that challenge me. I was afraid of the camera - that's why I chose to do 'Private Practice.' It's not like I left the theater.
The reason I like tracking shots has to do more with a sense of real time than anything else. In 'Gravity,' the use of tracking - of long extended takes - was partially because we wanted to film it like an IMAX-style Discovery Channel documentary. You don't have the luxury of cuts when you're in space. The camera is there; you're just observing.
Some directors are really strong on action, manhandling you around the set; others are very focused on setting up the camera shots and practically ignore you. You have to get used to introverts, extroverts, directors who clown around for the crew, and the odd one who's monosyllabic.
The actress they'd hired had refused to appear naked in front of the camera. I didn't like to appear naked either, but the first thing I did was take off my clothes and jump into the pool completely naked.
I think from an early age I was aware of how a camera can tell a story, how a movie camera can affect how the narrative is told.
In the editing room, 20 percent of the time you're using stuff from before the actor knew the camera was rolling or you're taking a line from somewhere else and putting it in his mouth.
Whereas if you have a camera in the courtroom, there's no filtering. What you see is what's there.
I think my role, I want to have a presence both behind the scenes and in front of the camera. So I can't say on one particular thing, so I'll just name them all. I'll be the jack of all trades and hopefully decent at one of them.
Well, I mean, you have an emotion, you want to express it. You don't just look in the camera and do it. You want to hide from the embarrassment of your brother saying you're not allowed to come into my town.
With Altman, he does discuss everything with you, but then leaves you to it and gives you full rein and lets you improvise and create a character while the camera is rolling.
The camera was kind to me. But I was never a screen personality like Gable or Flynn. The camera did something with their faces that was special.
Martin Luther King, Jr.
Image of the Moment
Two persons cannot long be friends if they cannot forgive each other's little failings.
Jean de la Bruyere
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