There is nothing worse than when actors come to a set - and it happens a lot with big stars - and they are too aware of where the camera is. They are the show. And that becomes apparent and it affects the production. I am like 'You should not know where the camera is - you should act, and I will do the rest.'
In the theater there are 1,500 cameras rolling at the same time - in the cinema, only one.
I'm never certain of a performance - my own or the other actors' - or the script or anything... But to me it seems there's only one place in the world the camera can be, and the decision usually comes immediately.
I think you should do rehearsal and work at it, but when the camera rolls, you should be ready. Try to make it good the first time.
Women are making strides in many areas and women have mentored and supported me along the way. I think that women are underrepresented behind the camera as directors.
I was really awful at auditions. There's something about sitting down and saying into the camera: "I'm Nina and this is the name of my agent." That makes me just die inside.
If I had a camera,' I said, 'I'd take a picture of you every day. That way I'd remember how you looked every single day of your life.
I think about it all the time. I love filmmaking. Whether I'd be in front of the camera or behind the camera, I just love that world.
When I work, I really try to get absorbed in the character. Unless I want to do something playful with the camera, I'm not too worried about where the camera is or positions.
I think I've spent more time in front of a camera than off camera. That's just the way it is.
I've learned so much from just being in film industry. I definitely want to stay in front of the camera and learn more from as many people as I can. Somewhere down the line, writing, directing and producing would be fantastic.
I never knew my titties was bigger than Pamela So paparazzi flickin be flickin their camera
It definitely helps if I can wear a jacket, because I can have a camera in my pocket. When we're on tour or if I go travel somewhere by myself, that's when I take the most photos.
Some people, myself in particular, have an adversarial relationship with the camera, and it sprouts up in every photograph.
You can be in an acting class all you want, but you don't fully learn until you get off that stage and in front of a camera.
This is how you can tell a real photographer: mostly, a real photographer does not say 'I wish I had my camera on me right now'. Instead a real photographer pulls out her camera and takes the photograph.
I knew my interest in the universe and I owned a telescope that I bought with money I earned by walking dogs. 50 cents per walk, per dog, and that accumulated quickly. I bought a camera, a telescope. I taught myself astrophotography. I did all this.
I can tell you about the universe, but she feels it; and when you feel the universe, it has a whole other meaning to you. Otherwise, you just put a Wiki page on camera. You can learn something, but it won't mean anything to you later on.
All the great advances in cinema came about from technology. The 3-D camera was not invented by a movie director. The new industries are driven by the innovations in science and technology.
Things are going to happen whether you are there or not, you still need someone to push the button on the camera and get it and know it's going to work of the story.
If I'm shooting actually a live-action movie and I feel like I can get the shots that I need with the existing 3D cameras, then I see there is no reason to not use those-to not shoot it in 3D. But there are limitations to the 3D cameras in terms of the amount of them, in terms of the size of them, in terms of where you can actually shoot them. There are definitely limitations so you have to weigh the costs. And you have to weigh also what ultimately what creatively you want to get.
Shigure: "What's in the camera? Huh? Huh? What is it?" Hatori: "Quiet, you hack.
House of Style' changed my life. I literally had no experience in front of a TV camera before, and there I was taking over for Rebecca Romijn. My exposure heightened instantly.
If I have anything to give you through camera, it must be of myself. … A gnawing burns inside … to make something of myself worth giving.
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.
