Toggle My BrainyQuote
Quote of the Day
- Page 25
I had a lot of energy when I was eleven and always liked being in front of a camera.
Some time ago, we went to Asia and took a camera along, and I began to do what I'd done even years ago doing people. I couldn't get interested in it. And I did hundreds of photographs of details of the monuments as sculpture.
I'm not so much in the future as always in the present. The future always takes care of itself. What I do now with my video camera, it can only record what is happening now. I am celebrating reality and the essence of the moment. And that's the greatest challenge that I have.
It ain't the picture and it ain't the camera - it's the operator.
She claimed she loved the camera, its warmth, its familiarity. She responded to its naked glare, its slavish attention to every expression of her face and body, with the kind of immediacy a trusted lover could expect.
The cast of 'Lemonade Mouth' was picked so perfectly. A lot of people see us as a band on camera, but not a lot of people know that Lemonade Mouth was a band off-camera, too.
Latinos are the fastest growing minority, and we're obviously not going anywhere. We're extremely loyal as a people, and I think Hollywood is starting to recognize that. It's very rare for a major studio to nationally distribute a film with Latino talent, not only in front of the camera, but also behind the camera.
The camera doesn't intimidate me.
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.
When I was younger, I read a book by Frank Barnaby, this wonderful nuclear physicist - he said that media had a responsibility, that all sectors of society had a responsibility to try and progress things and move things forward. And that fascinated me, because I'd been messing around with a camera most of my life.
It is unfortunate that the poor judgment shown by a small group of young actors has tarnished the reputation of every child who has ever appeared before a camera.
One of the defining things about my career on camera is I like to play different characters. That gets difficult to do. People don't trust you to do something different. In animation, it's all about trust and how far can you go away from yourself. It's a really marvelous environment that's extremely creative.
I wanted to become a director before I wanted to become a writer. When I was 10, people would ask me what I wanted to be when I grew up, and I said, 'Walt Disney.' I wanted to make films. But I wasn't offered a camera. I was offered language. So I started telling stories in the theatre and then in my novels.
With voice overs... you're not thinking about the camera. So your voice becomes this thing that you can manipulate. And depending on the character you're doing, it's all concentration on your voice.
This is going to sound cheesy, but with acting there are so many tools. When you're on camera, you're using all of it. You're using the voice, you're using your body, you're using wardrobe, all of it, but it's funny, once you take all of those things away, you realize how much you rely on the physicality.
Oh yeah - I watched Knife in the Water, saw the shot, and repeated it. But even if I hadn't seen that film, inevitably the camera would've ended up on top of that mast, I mean if you think of it there are only so many dynamic shots on a boat.
When you shoot a movie, the camera is always taking, taking, taking and not giving anything back.
As a kid, I always wanted to be like Spielberg and to make wonderful movies. Even when I was making 'Indiana Jones,' I was looking at how he would come up with these amazing shots and how he would choreograph the blocking and all that. So I knew from early on I would go to film school and try to work behind the camera.
Jonathan Ke Quan
I guess my break in America came a little too early. It would've been nice to have a few more years to find out what I'm like as an actor without a camera on my face.
What's great about working on a sitcom is that I spend so much time with people who are in other fields as well, such as writing, directing, and/or camera operating. Being on set is like being on a playground. I go from one thing to the next, and I've learned so much and hope to continue learning.
The funny thing is that I almost find it more difficult now to take a still picture than to be behind a moving camera. I'm just so much more inspired and comfortable and confident when I have that whole operation going. I feel more connected. Snapping a moment doesn't seem relevant to me anymore.
My friends love this idea of me as half man, half camera.
Normally as a director, you do look at other films and things that are relevant. But with this film, it became impossible because I became so aware of the camera placement.
The nude scenes were a little eerie and I felt a bit odd. Yeah, when the camera scanned up my body, I said to my friend, 'Now, that's a close-up.' I mean, you see every inch of my body. But I'm okay with it and so it was cool.
You will find hardly any improvising on camera anywhere in my films. It's very structured, but it's all worked out from elaborate improvisations over a long period, as you know.
Martin Luther King, Jr.
Image of the Moment
The sweetest of all sounds is that of the voice of the woman we love.
Jean de la Bruyere
Get Social with BrainyQuote
Follow BrainyQuote on Facebook, Twitter and Google+ to share inspiring quotes with friends.
Join us on
Follow us on
Follow us on
Quote of the Day
BQ on Facebook
BQ on Twitter
BQ on Pinterest
BQ on Google+
BQ on Instagram
Quote Of The Day Feeds
Quote of the Day Email
© 2001 - 2015 BrainyQuote
I have di