The biggest battle for a lot of people who come out of the theater, which is where I was trained, is that they can never forget that a camera is pointed at them.
On TV, you have wardrobe fittings, you have four cameras on you at all times, and you're worried about your angles and your lighting and your shots.
I like digital cameras, because they enable you to reminisce immediately.
I have a book! It's called 'How Does She Do It?' and it's 35 years on camera.
I didn't need the insurance. I do it again if my DP tells me it didn't look good in the camera or if the actors didn't hit their marks. But if everything was working why do it again?
Improvisational things about picture-making... learned from working with the small camera early on have served me well in being able to think quickly when making [portraits].
I would love to work with Adam Sandler. Because then all I'd have to do is just turn the camera on and off.
Acting, to me, is being given the freedom and ability to play, and that's - that's what I love most about it. I feel very comfortable in playing, whether it be in front of a camera or on stage.
I've ended up spending more time in front of a camera than on stage, but the stage is where I come from.
I'm really into my photography and am trying to catch up with digital generation - I was used to the old 35mm cameras.
I don't necessarily believe in the ideology of cinema verité. I think by the very fact that you have a camera there you are affecting the story and you are influencing it.
I love the quality, feel and history of film. I love the pictures of the giant cameras and the way it was.
Hugh Grant does a great job with his style. Somehow understated yet timeless and seems to get it. He does it on and off camera.
Just as Renaissance artists provided narratives for the era they lived in, so do I. I'm always looking beyond the surface. I've done that ever since I first picked up a camera.
I was always painting when I was a kid. But then when I handled a camera when I was 17, that was it for me. I loved photography. I would work 4 or 5 hours a day. It was like a calling.
The most important piece of equipment after the camera is a good pair of shoes.
The cameras are getting smaller, they're getting more versatile, and eventually, I'm sure you'll have a camera with lots and lots of things on it so you can alter the picture. You could alter perspective.
I'm sure that the camera is part of European art.
Great claims are being made for the photograph as truth. We are showing you things, we show you the war. I say you can't actually. The camera can't.
You can't name the inventor of the camera. The 19th-century invention was chemical: the fixative.
The way we see things is constantly changing. At the moment the way we see things has been left a lot to the camera. That shouldn't necessarily be.
Photography sees surfaces, it doesn't see space. We see space but the camera doesn't.
I used to fly around the stage without strings or camera tricks. That took seven years to create.
I was so besotted with '8½' that, when it was on TV, I used to take pictures with my 35-mm. camera of the frames of the film. That was the first time I'd ever really seen Italians on screen.
Television is a prisoner of dialogue and steady-cam. People walk down a hall, and the camera follows them around a corner.
