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Nonni's Biscotti Bites fit perfectly in my camera bag for a spontaneous break between photo shoots.
I feel more comfortable in front of a camera than anywhere else.
People are so used to having their lives filmed, they're not even conscious of having cameras around. I still have that sort of suspicion when a camera comes out. I view it as a thing to fear.
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.
When you grow up on camera and in the public eye, you feel you have to put forth this image. I just took that to the extreme and there was a lot of pressure on me.
You've got to love acting and that's true for me. I love the idea of getting on stage and getting in front of a camera.
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.
Eventually I'm going to be too old to be on camera, and I've been doing stand-up a long time.
A lot of actors just do whatever they do, and wherever the camera is, it is. They don't pay much attention, but I always did. I was always very close to the camera crew. They were my best buddies, no matter what movie or show I was doing.
They say the camera never lies. It lies every day.
When I watch a film I get swept away. I don't really watch the camera.
William H. Macy
Butte was once a grand city. To me, that city is like one big stage for Edward Hopper. You could put your camera anywhere, and you felt you were looking at his paintings.
I don't like to watch playback. But being on the set, watching the way the camera is being moved and the way the light is being used, you do get an idea of it.
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.
I like the days when all the filmmakers had was a film roll, a camera and a gangster. The Mack Sennett comedies were all like that. They'd create little teams to go out and shoot films.
With moviemaking, the audience always has to keep asking, 'What happens next?' If you have the wrong piece of music over a scene, people aren't going to get the scene. If you have the wrong camera angle, people aren't going to pay attention. That's as much a part of the process as getting people to talk to you.
You talk about what a director, he was smart. He said, Turn the camera on!
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.
That first year at Universal was a big blur and, naturally, I thought they were wasting me. I didn't realize at the time that I was learning my craft and acting more easily in front of the camera.
You don't rehearse jazz to death to get the camera angles.
When I got cast in 'Rocky IV,' I had never seen a film camera before. And here I was in this boxing movie.
I carry a disposable camera. It takes me back to my childhood, when you had to develop your film and wait to see what pictures you got.
Christa B. Allen
I directed the next-to-last episode of 'Parenthood.' I wrote three of the four last episodes. I had the cast to my house. Had a champagne toast with the writers. Had a huge cast and crew party. Drank eggnog in the camera truck after we wrapped the final day. All that, and I don't really feel like I've said good-bye to 'Parenthood.'
War is the easiest photography in the business. Just get close, be lucky, know how your camera works. There are subjects everywhere. Everyplace you go, there is something to photograph in a war, like being in the middle of a hurricane or a train crash or an earthquake. You can't miss it.
David Douglas Duncan
It was amazing to watch him in the darkroom at an advanced age, still get excited when the results were pleasing. He still struggled like we all do in the darkroom and he struggled behind the camera, and when he had a success he was beaming.
John F. Kennedy
Martin Luther King, Jr.
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