The word reality scared me. I just looked at reality as everybody follows me around with a camera, and I'm not that kind of person. I fought for my privacy in England. And I didn't see another way it could be done.
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.
Photography sees surfaces, it doesn't see space. We see space but the camera doesn't.
Marilyn Monroe gave more to the still camera than any actress, any woman I've ever photographed; infinitely more patient, more demanding of herself and more comfortable in front of the camera than away from it.
I just happened to have my camera and be photographing my friends. It was totally innocent; there was no purpose to the photographs. There was a purity to them that wasn't planned; it was realism. Over the years, the work has changed for me. I know that I have wanted to repeat myself, but I can't. I've been lost a lot of times, but then I'd just get an idea and photograph it. Once I'd started, I'd know exactly what would go down and how it would end. So I just quit doing it, because it loses all interest for me when you know what's going to happen.
In media terms, the camera always lies, providing an edited version of reality.
I came out of the womb looking for the camera angle
The axe is fifteen pounds. You have to make sure you don't hurt or hit someone. And hit the beats, because they have five cameras. It has to look real. That in itself becomes challenging because you have to learn it straight away.
I love it, to have the same crew. I'm not married. I don't have children. My 17-year-old dog died. I'm kind of on my own. So I really like having the same camera guy for four years. I love looking around and seeing the hair and makeup people who have been there from the beginning.
Musicals and horror films can be very non-verbal and very pure cinema with movement. The camera is justified in being a character. It can really move and tell a story, and literally direct you to look here or there.
You have to understand where the camera needs to me. There were times where you were suddenly aware where the cameras were, then you were in a different place and it didn't feel like the same movie.
I'm completely at ease on a set. I'm pretty comfortable most places, but hitting the mark and knowing set etiquette and understanding cameras and lenses are second nature. It's a language I've spoken for years.
There's so much stuff going on behind the cameras. Sometimes people think these things are done certain ways and when you watch that you see how hard and down and dirty it was.
Of course, we're supportive of the gay and lesbian community. I've just never portrayed that on camera. Once I met Taylor [Schilling] I knew that it was going to be really comfortable and okay, but the nudity was a little bit of an issue for me.
I will never lose anything that an audience will miss.I turned things that were scripted as effects into in-camera stuff, which is sexier.
There was a lot of stuff [in Rock of Ages] that had effects in it and I thought it was too smooth. I thought it would be sexier if it were in-camera cuts. So I did that.
One of the things about working for an old school studio like Warner Bros. is that there is an institutional culture and institutional memory, in terms of production design, camera work, and directors who understand how to do this kind of thing.
The camera cannot leave the man, but the man can leave the camera. It's in the style of documentary where you make an agreement between a camera and a man and say, "I'm going to film you now."
We were in production on a movie called All the Real Girls, which filmed in the Fall of 2001, and we really discovered who Danny McBride was, as an actor. When I say we, I mean me and a crew and a small audience that would hit the art house. He'd never acted before, and it was a really refreshing, eye-opening experience to watch him unleash, in front of the camera, all this comedic potential that we knew he had, as a human being and as the guy doing keg-stands at the party.
I'm not really one to be on camera, I'd rather be writing songs.
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 do voiceovers, but being on-camera and selling something? I wasn't really interested. And then I thought, well, wait a minute. Everybody's selling something. When you turn on the tube... And then if you go to Europe or Asia, everyone is selling something. All the guys that don't want to be seen selling something here are selling something there. So I thought what the hell?
Learning about acting for camera is really quite exciting to engage with and deal with.
If the guy behind the camera is not good, the pictures are bad. It's still you, and it's the same lines and everything, but it doesn't work.
I'll never forget the moment when I saw a red light go on, on the camera, and that image translated to the monitor, and then a different light went on and the shot changed, and I went, "Wow, that's how it's done! That's how that gets to my TV! This is what I want to do with my life!" I literally had that moment of epiphany, at eight years old.
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