The delineation between the actor and his part is a practical matter. When the camera runs, you want the actor to be the character.
The function of camera movement is to assist the storytelling. That's all it is. It cannot be there just to demonstrate itself.
One of the best things - and something I'm grateful for every time I walk onto a film set - is my six and a half years on Dawson's Creek and the experience it afforded me in how to get comfortable with the camera.
I enjoy the attention. I like the cameras. In a way, they make me play better.
Before each new setup, I chase everyone off the set in order to be alone and look through the camera. In that moment, the film seems quite easy. But then the others come in and everything becomes difficult.
My father had a Super 8 camera when I was a kid and sometimes he would use it. I did some animation with it. I did a lot of flipbooks.
I think the theater work and the on-camera work feed off each other. My theater work has become more simple, and my on-camera work has become more energized or more spontaneous.
When it comes to the camera, I can do my thing. But I'm bashful.
Right now is a very interesting time because of the digital cameras, and the fact that you can edit anywhere. It's a great time to be a filmmaker, is a great time to be starting off.
... anybody who has spent time with cameras and photographs knows that images, like gravestone rubbings, are no more than impressions of the truth.
Look, I really do not care about you. What I care about is the worlds that you bear witness to. You are nothing more than a dog with a video camera strapped on its back. As you walk the streets looking for a place to mate or piss or eat, the camera is on and we will see the world because of you... You carry the camera and we enjoy the world. (On images as autobiography)
Remember the cliche: ... "Cameras don't take pictures, people take pictures."
Sometimes the presence of a camera is like opening a door, because many people want what Andy Warhol called "15 minutes of fame." But prostitutes don't want that.
Sometimes the presence of a camera is like opening a door.
I think as a scout you have to pick. It is harder. You have to talk and explain that this is not just about standing one-dimensionally in front of a camera.
Normally, if I'm being acknowledged it is for something in front of the camera. This puts the spotlight on the fact that there are opportunities other than just being an actor.
A lot of actors, they know the camera's there, and if somebody moves around or makes noise or whatever then they get all distracted, but I pretty much lock in. You can't distract me too much.
Someone explained parallax error to me, and I thought Ah, with a cheap camera, it would be pretty easy to behead someone.
I learned very quickly that the hard thing in life is to make good films. Technically, filmmaking is the camera and the actor telling the story and that's what I'm more interested in doing.
I'm a big fan of cameras. I'm reasonably interested in good gadgets and I'm amazed by what things can do. The quality of the GoPros and what they can do is amazing.
Create your own path. Cultivate it. It'll take time. It doesn't happen overnight. I was an actor for many years before I got behind the camera.
The modest youth somehow knows just what to do for the cameras.
One of the secrets of being a great photographic model, as it is for a great film actor, is that you let the camera in. It's an intimacy that the model or actor creates with the lens, that then transmits itself to the viewer.
That's the way I learned photography: You make your picture in the camera. Now, so much is made in the computer. ... I'm not anti-digital, I just think, for me, film works better.
I look very different on camera compared with how I do in real life. On camera, I look my best when everything is enhanced, especially my eyes - I like a smoky eye. In real life, I like myself best in tinted moisturiser, lip balm and mascara.
