You're talking about a whole camera crew and being mic'd up professionally everyday and just having another group of people following you around. It's a little different than having friends pick up a camera and follow you around.
Initially, it connected with me when I was a kid, seeing a lot of movies while growing up in Los Angeles. And Sam's [Fuller] pictures are an expression of such a distinct voice that he was one of those filmmakers who made me aware that there was, in fact, a real presence behind the camera that was telling the story, as opposed to actors just presenting it.
I've been around Hollywood and filmmaking long enough to know that it's a tricky dangerous business when you go on camera, you got to watch yourself.
I am very suspicious of cameras and dramatic interpretations and the whole Hollywood myth-making process. I don't trust it. I've seen it affect people in bad ways.
Once the cameras rolling or the audience is in the seats, I'm on. I can't help it. I go into a trance.
I have some sort of performing gene that's just there and I cannot explain it but I want to connect with people through a camera or on a stage. I just can do it. I just have an intuitive sense of it. So I love doing that, I love going into that trance.
Things are going to happen whether you are there or not, you still need someone to push the button on the camera and get it and know it's going to work of the story.
I'm the front man, I'm the man on camera, but there's a whole team beyond me.
I do photography and I studied film at school. So I've always really enjoyed that and I've got an eye for camera angles I guess. I've never taken that into filming wildlife.
After the war, photography came alive, in part because everybody started to use the 35mm camera, and worked on the street instead of in a studio, and that made an enormous difference in not only how photographs looked, but what they were about.
If you're going to photograph skateboarders you can't run after them, you've got to learn how to skate. So at about 50 years old I learned how to skate, and skate fast enough to keep up with them and hold my camera.
I learned how to skate, I couldn't do the tricks, but I could certainly skate fast enough. I could keep up with anybody and I could bomb hills and I could hide behind my camera.
It's hard any time people are sitting down and looking at you across a camera and saying, "I believe that you guys will tell my story faithfully." That's getting to the core principle of being a journalist or a documentarian where people trust you with their stories.
Fashion was very important to me because I could practice my acting skills, I could practice working with the camera, I could work with amazing photographers. It just gave me a different field of work.
I'm a tough girl, I know what my job entails - it entails a lot more than standing in front of the camera. So I get it. I won't deny the physicality of it is exhausting, and sometimes my body just can't keep up. But it is ultimately about mind over matter.
I would say probably Paris [Hilton]. Because to me that's her in character and she kind was always sort of winking at the camera. There was satire I think involved in what she was doing. I like to think there was.
I invented a camera that has an exposure time of one hundred years and the camera works in the simplest possible terms, because anything more complicated is more likely to break down in one way or another. It's a pinhole camera that lets in very low light and instead of exposing film, which is going to spoil within a matter of days or weeks, I'm using ordinary black paper.
I had to learn how to modulate my performances and interpretations of these roles in auditions for the camera.
I both didn't know Owen [Suskind] beforehand and didn't have any connection to the autistic community. But Owen wasn't really a problem, because he participated in the writing of the book and wanted people to see him as he truly is. As far as the cameras, Owen lives in the moment and the cameras really didn't distract him.
The challenge and the goal was to get inside Owen's [Suskind] world, because I really wanted to see it through his point of view. To achieve that naturalism, I used a screen in front of a camera as I interviewed him
I want to rob a bank so much - and I'm from the Midwest, so we have like one bank, no security cameras, and so I designed this thing.
I always wondered, you know I watch "Cops" all the time - why doesn't a drug dealer design a trap door under their car? 'Cause cops don't have cameras under the cars, they get you for throwing stuff out the window! If you got a trap door under your car, boom! You would run over it. It would be genius.
I have this awareness that the more dynamic the situation is, the more on guard I need to be that the dynamic isn't controlling the situation. I found that myself in the Galapagos. For the first time in my life I was around very exotic animals, colorful, beautiful, and immediately present, all around. Birds, turtles, iguanas, seals. I was being seduced by their exoticism, I was taking pictures.The pictures weren't well lit, there was no moment in play, there was no depth to the pictures. I was just gawking with my camera at something I'd never seen before.
For example, in my dorm, at the University of Kentucky, I had the only camera. I don't think anyone came to college with a camera, other than me.
Back in 2007, I met this white guy [director Peter Byck] with a lot of hair and a video camera, at a conference that I happened to be attending for the launch of an organization called Blacks in Green. I had never heard of him and Peter had never heard of me. We just started talking; he liked what I had to say, so he asked me if I'd be willing to be in this documentary he was doing about carbon pollution. I said, "Sure!" It was kind of a no-brainer.
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