When you disclose something really personal in hopes that the person will then disclose something personal, too? It's all there on camera, your techniques that everyone can see through.
When someone shuts down on you... There were a couple of times of somebody that was just unpleasant, and you can't get them to loosen up. It's this horrible spiral when it's on camera, because you're trying to get them to like you, to trust you, to give you decent answers.
Comedy is all about the joke. Comedies usually don't do anything fancy with the camera [or] the lighting. It doesn't matter. It should never be fancy.
I was trained in the theater, so I really learned a lot about how to work with the camera, just technically speaking, it's been an amazing learning curve.
Sometimes when these kinds of things happen, it can seem a little bit too much to bear. But what I want the people of Louisiana know is that you're not alone on this. Even after the TV cameras leave, the whole country is going to continue to support you and help you until we get folks back in their homes and lives are rebuilt.
It gives you more freedom, the digital camera.
I feel like an artist often turns the camera on themselves and on their own families to understand who they are.
Cameras intrigued me.
Cameras always were seductive. And then a darkroom became available, and that's when I stopped doing anything else.
There was a camera club at Columbia, where I was taking a painting course. And when I went down, somebody showed me how to use the stuff. That's all. I haven't done anything else since then, It was as simple as that. I fell into the business.
I'm pretty fast with a camera when I have to be. However, I think it's irrelevant.
Just think how minimal somebody's family album is. But you start looking at one of them, and the word everybody will use is "charming." Something just happened. It's automatic, just operating a camera intelligently.
Well, in terms of what a camera does. Again, you go back to that original idea that what you photograph is responsible for how it [the photograph] looks. And it's not plastic, in a way. The problem is unique in photographic terms.
The camera's dumb, it don't [sic] care who's pushing the button. It doesn't know.
The terrain of the face is the most dynamic thing you can point the camera at, to me. I love production design and bells and whistles and all of that. I love a technograin as much as the next gal, but a great actor's face? What else should we be looking at?
Actually, acting in bumper cars is terrible, because the really only way to film it and get a close up is to literally mount the camera - this heavy thing on the car and it's just the worst because you can't act at all with a thing on the car.
It's a funny thing, if I could choose anything to do, it wouldn't be to be in front of a camera because I've spent so much of my time, so much of my life trying to get really good at writing songs and playing instruments.
Basically, if you shoot your own stuff, you can just pick up a camera and some wireless microphones, grab a couple of LEDs, and you're off and running. And if you don't shoot your own stuff, you can just grab one other person to do camera and you can learn how to do the sound, and you're off and running.
To all the secret writers, late-night painters, would-be singers, lapsed and scared artists of every stripe, dig out your paintbrush, or your flute, or your dancing shoes. Pull out your camera or your computer or your pottery wheel. Today, tonight, after the kids are in bed or when your homework is done, or instead of one more video game or magazine, create something, anything. Pick up a needle and thread, and stitch together something particular and honest and beautiful, because we need it. I need it. Thank you, and keep going.
There are days when everyone in the world looks like a Diane Arbus to me. She's a genius but her work is completely different to mine. But on those days I don't use my camera.
I feel like if I started to use it [camera] that way, it would be like a sin almost. I never show people ugly pictures I take of them. I usually destroy them. So even if I like it, and they don't, it doesn't get shown.
There are ways of angling the camera. I don't just use a tripod. The only time I did that was in '88 when I first came out of detox, I spent every day doing self-portraits to fit back into my own skin. I didn't know what the world looked like - what I looked like - so in order to fit back into myself, I took self-portraits everyday to give myself courage and to fit the pieces back together. I used a tripod then.
There was a point a few years ago where I realized I started out playing boys on camera and stage, and then I translated that to playing boys in animated shows. I was like, "Whoa, this is intense."
I know what it means to sit in that chair for four or five hours. For me, it's actually thrilling because I get to know something that I'm not used to. The others do that every working day. It's a real commitment, not only in terms of acting in front of a camera, but just in order to get there.
I choose to work behind the camera. And I kind of want to make the work and then run away. The presentation of myself really feels complicated for me.
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