Cameras Quotes - Page 37

I just think that I'll never have plastic surgery if I'm not in front of the camera. If you make your living selling this thing, which is the way you look, then maybe you do it. But trust me, the minute I'm directing or producing and not starring, I would never even think of it.

I like doing film, you know, single-camera.

The collection of photographs is a statement about the relationship of my camera and me.

Feelin' guilty, feelin' scared, hidden cameras everywhere.

Basically, if you shoot your own stuff, you can just pick up a camera and some wireless microphones, grab a couple of LEDs, and you're off and running. And if you don't shoot your own stuff, you can just grab one other person to do camera and you can learn how to do the sound, and you're off and running.

There are only two hard things in photography; which way to point the camera and when to release the shutter.

I'd rather be on this side of the camera. I feel more comfortable. I'd rather keep myself centered and keep my ego as tepid as possible. Because you can get a big head walking around here.

The idea of somebody being a fan of something I can totally understand. The idea of being followed around by cameras or people taking pictures of you eating a hamburger, I kind of have trouble even imaging it.

I tend to want to go quite big in my acting, which you just cannot do in front of a camera. It's taken me a while to learn how to pull it back.

Just like a picture is worth 1000 words, a camera phone is worth 1000 cell phones!

The railway was part scalpel, part movie camera, slicing the city open, parading its inner workings at fifty frames per second. It was on the S-Bahn that she felt least abandoned, as if the act of travelling turned back the clock, and brought her nearer to the future she had lost.

It's great to get insight into the era of 80's rock-n-roll via a treasure trove of photographs skillfully captured in front of Mark Weiss' camera lens. This event is the perfect time capsule for Mark's work finally being released upon the masses in 2012.

It's usually when the cameras leave that the support leaves as well.

In practically every film you experience, you can see the director following the text. Illustrating the words first, making the pictures after, and, alas, so often not making pictures at all, but holding up the camera to do its mimetic worst.

Actually, I would love to make a music video. Maybe it would finally put to rest those persistent rumours that have followed me throughout my career - particularly when I was on camera performing - that I had died.

It is really funny to see people that you know acting unpleasantly just because there are TV cameras on.

I am very proud of my husband, both behind the camera and in front of the camera.

Raksin worked for Alfred Hitchcock, about whom one of the most famous Raksin anecdotes was spoken. The legendary director declared he wanted no music at all for the oceanic Lifeboat, because he felt audiences would wonder where the music was coming from in the middle of the sea. Raksin said, Ask Hitch where the cameras are coming from.

Newshounds are people with mini-video cameras, people who are continually taking pictures in the street and sending the tapes in to CNN. These Newshounds are a sort of pack of wolves, continually looking for quarry, but quarry in the form of images.

The documentary photographer aims his camera at the real world to record truthfulness. At the same time, he must strive for form, to devise effective ways of organizing and using the material. For content and form are interrelated. The problems presented by content and form must be so developed that the result is fundimentally [sic] true to the realities of life as we know it. The chief problem is to find a form that adequately represents the reality.

I'm glad I took the leap away from acting into going behind the camera because it's much more satisfying - I love acting and I still do, but it's much more satisfying to be able to make the stuff.

I don't trust any camera you can't make out of wood.

If a film is very clever and well-written, that's what gives you freedom as a director. Part of the freedom in directing, for me, is that I'm also the camera operator. That's the place where things are less rigid, where I can adjust as I go along.

There was a point a few years ago where I realized I started out playing boys on camera and stage, and then I translated that to playing boys in animated shows. I was like, "Whoa, this is intense."

Anything involving the camera, you're passionate about. Because there's no movies without it.