There are certain men and women who, from the minute they step in front of a camera, that's exactly where they belong. Connery's one.
Unfortunately, too many public school officials believe that cameras are needed to enforce order and discipline.
I put the cameras on her and told her to be obnoxious as she could possibly could be. She was.
I think if you don't stop an actor every two minutes, changing the position of the camera and the lighting, there is going to be a flow of energy.
I'm used to being behind a camera. That's much more natural for me. But if my life can inspire people, that's what I have to do. My idea is to be of service.
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.
In all my documentaries I did all the camera work, but in fiction I didn't want to do it myself. I think the machinery is so heavy and demanding that you would leave the actors alone for a long time.
When I make a documentary I shoot very little but I hang around with my camera for a long time. I look at the people for a long time through the loop and then when I see something interested then I shoot. I think that I have become very sensitive to these things.
This is going to sound crazy, especially in America where there is a total inflation of the word "love," but in a sense you have to love the people in front of the camera. There has to be trust between the one who is behind the camera and the people on the other side, so that they can relax. They have to feel they are safe, and that way they don't have to pretend just because they are scared.
Having a camera is a really easy and quick way to indulge in your creative side.
It has a lot to do with just sort of trust in the relationship that builds between the filmmaker and the subject. There are some people who will never be relaxed in front of a camera, and in some ways that's my failing as a filmmaker to not put them at ease. It's also a function of time, and if you have that type of time.
I try to keep feeling what's going on and try to use the camera, the actors and the design to enhance those feelings. There's something really emotionally direct and honest about how I put the material with the images. You hope that the strength of mise-en-scene comes from an honesty towards the material. You also hire really well.
Everybody knows that only creeps put cameras in the bathroom.
I've always thought that when anyone receives an award for acting they should always thank their fellow actors, because the only way you're going to deliver your best performance is when you have other good actors on the set supporting you and being very present for you even when the camera is not on them.
You can do things in twin scenes now you couldn't before. You can implement actual moving cameras.
I first discovered YouTube while browsing the web, and then I found people just talking into their cameras. I never even knew it was a thing you could do. William Sledd was my first YouTube obsession. He was so unapologetically himself, and just had fun talking to his audience about things that interested him. I thought - if he could do it, why couldn't I?
When I was younger, I was reticent to be vulnerable on camera and everything I was doing was just a really finely honed defense mechanism from when I was a kid, and I was now using this to make a living on camera.
In the age of camera phones and screenshots and Twitter.... At the end of the day, I want to share my life with somebody, you know? I want picture albums. I want to look back at our time together. And I also want kids. And if you want kids, then you want marriage.
[The trainers] work a day or two a week; I work six days a week, 13 hours a day to get that footage. Carrying the show is very stressful, because I never get away from the cameras. It devastates my personal life.
I'm not one of those actors who likes to analyze things too much, so I trust what the writers are doing with the characters, in order to give them their journey. My job is to come in and try to make those words on the page come alive on camera.
What very often happens when people make films about rich people, the camera is quite mesmerised by the opulence and quite theatrical in fact.
When the camera starts to roll, there is something of death about it.
If the FBI parks a van bristling with cameras outside your house, you are justified in closing your blinds.
If you invite someone into your front room you can't be surprised when there are suddenly people outside your windows with cameras.
It's so easy to pick up a camera, white balance, and shoot people having sex, but I don't think there's anything very interesting about it. You might get off, but that's it.
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