Eras Quotes - Page 7

The true authenticity of photographs for me is that they usually manipulate and lie about what is in front of the camera, but never lie about the intentions behind the camera.

Whenever there's a camera around, a video or film camera, it's a great deal harder for those in power to bury the story.

The era of 'anything goes' is gone for ever.

It’s not when you press the shutter, but why you press the shutter.

Sinatra was pretty astute - he used the best songwriters around, he used all the resources, he covered every song from the era basically.

Don’t pack up your camera until you’ve left the location.

Nothing happens when you sit at home. I always make it a point to carry a camera with me at all times...I just shoot at what interests me at that moment.

There's a kind of power thing about the camera. I mean everyone knows you've got some edge. You're carrying some magic which does something to them. It fixes them in a way.

With all its technical sophistication, the photographic camera remains a coarse device compared to the human hand and brain.

The camera itself, the photograph itself, calls up death.

There is a camera is between a man and a woman.

Sometimes I take the watch, or I take the shoes, but usually the souvenir is to take the life you had with those directors, or the crew - the camera person, the lighting person. When you finish a film it's like a little death. You had a family for a bit, and you finish the movie and you probably will never see each other again.

Look at lots of exhibitions and books, and don't get hung up on cameras and technical things. Photography is about images.

[The Polaroid camera is] a system that will be a partner in perception, enabling us to see the objects in the world around us more vividly than we can see them without it, a system to be an aid to memory and a tool for exploration.

About shadows: do we see shadows? Loads of people don't. A camera will notice a shadow, but how many people have got a shadow in front of them when they take a picture and don't notice it, and then they see it in the photograph because the photograph will catch the shadow.

Filmmaking isn’t if you can just strap on a camera onto an actor, and steadicam, and point it at their face, and follow them through the movie, that is not what moviemaking is, that is not what it’s about. It’s not just about getting a performance. It’s also about the psychology of the cinematic moment, and the psychology of the presentation of that, of that window.

I daydream too. I visualise. I think ahead, I can do it now, sitting here. I think ahead to the walk-in, I can hear the crowd, the music, I can feel the cameras all around me, I can feel movements in my body as I am heading there, I can bring up that incredible feeling you get when you step into the cage.

To me, 'Blackberry Way' stands up as a song that could be sung in any era, really. We do it with the new doing all sort of fanfare things in it and it works really well. It goes down great with audiences.

You can't erase a dream, you can only wake me up.

The camera sees more than the eye, so why not make use of it?

Modeling's terrifying to a lot of people. Standing in front of a camera is terrifying. I like a challenge.

Suddenly this camera, this thing, allowed me to move around the world in a certain kind of way, with a certain kind of purpose. (On receiving a camera for her twenty-first birthday)

What the human eye observes casually and incuriously, the eye of the camera (the lens) notes with relentless fidelity.

Forget the camera, forget the lens, forget all of that. With any four-dollar camera, you can capture the best picture.

Things in the ring are definitely bigger, so that you can see them. But the movie world is completely different, and you have to hone things down because when that camera is so tight on you and so intimate and right up in your face, it's going to catch every little thing that you give it, and it's very easy to overdo it.