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Anyone with a smart phone is a potential eyewitness cameraman capturing and transmitting stories at speeds that turn Reuter photos and traditional reporting into, well... yesterday's news.
I believe that the best cameraman is one who recognizes the source, the story, as the basis of his work.
James Wong Howe
Often I pretended to a cameraman to know less than I did. That way I got more cooperation.
I worked on 'Blue Peter' and 'Tonight' and lots of TV plays, filmed people like Rudolf Nureyev and Ted Heath, and ended up a senior cameraman with my own crew. I'd had my first short story published in 1947, and when my writing really started to take off I decided to go freelance, and eventually left the BBC in 1965.
My work is made on lines similar to those of a film production. A lot of my work is kind of bureaucratic, endlessly phoning up people, trying to find the cameraman and the lighting man, because I am a total technology-phobe, quite helpless with equipment.
People always seem to assume that we have a full, back-up support team - make-up, costume and a driver - but usually, in a war zone, there's only me and the cameraman.
My cameraman and I devised a method, which we started using from my second film, which applies mainly to day scenes shot in the studio, where we used bounced light instead of direct light. We agreed with this thing of four or five shadows following the actors is dreadful.
Every film I've ever worked on, and that includes 'Braveheart' and 'Trainspotting,' I've always witnessed a director having a breakdown. Every director will have a day, without exception, where they just can't do it anymore, they don't know what to say to their cameraman, their cast. It's the sign of real, physical exhaustion.
I couldn't be a cameraman or a designer or an actor - I have to be a director because I learned how to do that from my dad.
A friend of mine - a cameraman at MTV - lost a lot of weight from cycling, and I thought I'd try it, too, thinking whenever you look at a cyclist they all look super-skinny, so hey, why not? But then it turned into such a psychologically satisfying thing.
Yes, if I had it my way I would do all the shots myself - I used to do that when I was just a cameraman, an operator - but there's no way; you can't do that anymore.
I served at the Pentagon and at Fort Leavenworth - my job was video cameraman, and that allowed me to travel to places like Korea, Japan, Alaska, Germany and the Netherlands.
My dad was an actor and a writer; my mum was a drama teacher. My grandma was an actress. My aunt is an actress. My granddad was a cameraman. They would've been surprised if I wanted to be a dentist or something like that.
I tried to get a job as a TV cameraman and they basically told me, 'You're mad, everyone wants these jobs - and if you go to England, you're doubly mad.' But I worked in abattoirs for 10 months to earn my money, then left for London. I didn't even know what a director did.
The cameraman isn't thinking about whether you're good that day. He's too busy worrying about what he has to do.
Starting at age 10, my personality and my identity all stemmed from employment. I had a set to be at. I was a certain way with the cameraman, a certain way with the makeup lady - a normal, routine environment.
The Russo brothers are the best people ever, and they cast me in 'Happy Endings.' I did text Joe Russo to say, 'I don't think my character dies, so if you need a local news cameraman to show up in 'Captain America 2'... I know it doesn't make sense, but just hear me out on this!' He was really cool about it and turned me down right away.
As a cameraman, I was paid to stand within a few feet of Yehudi Menuhin performing. I saw Rudolph Nureyev dancing. I couldn't believe I was being paid for that.
There is the danger of over preparation, of loss of spontaneity; over rehearsal is the most terrible thing you can imagine. We do have a very close association between costume and set designer, though. And the cameraman is very important, of course.
For us as writers, it's really important to have songs we believe in - even before sometimes we shoot a scene. If we have a song that's so perfectly designed for a scene on 'Rescue Me,' we'll play it on loud speakers during the shooting. It helps the cameraman and it helps the director, and it helps the actors know what the feel is.
In 2009, I served as AARP's Ambassador of Caregiving. With a producer and cameraman, I traveled the country for months, interviewing hundreds of caregivers.
In the old days, before there was such a thing as film schools, directors learned the camera by watching other directors, and learning from their own dailies, and listening to the cameraman, and seeing what would work. Some of those guys could cut their movies in their head.
There are times when it's absolutely appropriate to march up to someone, stick out your hand and introduce yourself, and times when it's best to let your male cameraman or producer do the talking and hang back until you've felt out the situation.
A. P. J. Abdul Kalam
C. S. Lewis
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