I'm doing an over-the-shoulder shot on a dog. I'm putting the camera behind the dog's shoulder. This is craziness. You just accept it in the movie [Valley of Violence], but when you make the movie, it's the weirdest thing. There's dog coverage, like it's a person.
You would never dream of going on to play a scene in front of an audience at least without having rehearsed it. But you do somehow in front of a camera.
When I moved to London, you could park your motorcycle in the pavement, on the sidewalk. We would stay here and just leave it and go about your business. But now something was sort of encroaching in London. There's cameras everywhere. You can't do anything. You're not allowed to be in a group.
There are photos of Kim Jong-un right up atop the volcano. I actually wrote a letter to him asking if I could speak on camera. I never got an answer. But what was interesting was the people who were responsible for us, our "guards," it took them two days to figure out how I should address him. "President? No, you can't because there's a president for eternity." And it was a time when his status was still in flux. Only a few months later there was this party congress which assigned an official title to him, but that was after we did our film.
The wonderful thing is that Clive [Oppenheimer ] insisted on training his camera - his private camera - on me at one point. We were discussing things such as how to avoid certain dangers, while reflecting on a volcano that had threatened to explode 40 years ago.
We were very, very lucky [with Tim White filmed making historic discoveries in the East African Rift ] . In 100 years, only three skeletal remains [of early man] were ever found at this site. This was the third one, and we were right there when it happened. In fact, when I first heard they had found something, I said, "Please stop it! Don't do anything right now. Let's do it tomorrow until we have unpacked our cameras and assembled our stuff.
That shot in "Into the Inferno" somehow popped up while my editor and I were viewing the footage. I immediately said, "That looks like the opening shot because the camera approaches the action very slowly and we have enough time to insert some of the main credits into it." So it was a practical choice. At the same time, you see these tiny figures standing at the rim of something, and all of a sudden, the camera rises further and you find yourself looking straight down into an inferno.
I can't tell if the world is worse now or if we just have more cameras. There are cameras everywhere, so now the world knows how bad the world is.
By the time I got to the league I knew the cameras were going to be there and to turn it on.
I am very proud of my husband, both behind the camera and in front of the camera.
When Javy Baez goes out there, man, you saw him before the game sitting on the bench, saw him waving into the camera, he's just being himself. I love that.
About 10 minutes [into the dinner] my sister texted me and said, "Maria, I just wanted to let you know that you're on TV live. You're front and center." I thought, 'Oh God, I'm right behind Donald Trump and in the camera shot. After that I stopped moving. I just sat there. It was funny. I was delighted that people noticed my white gloves. It was a white tie dinner, for the dais you had to be in white tie. If I can't channel my best Sophia Loren glamour for a white tie affair, when can I? I thought it was an excellent opportunity to wear the white gloves.
To me, Elijah Wood is one of the best actors of my generation. He's so incredibly present and in the moment, when you're working with him, and then we just chat away about anything off camera because he's a lovely guy.
I don't like horror, which is ridiculous because I've been in three horror movies, but when I see those things, I see camera tricks and fake blood and actors screaming and I don't know understand why other actors don't see that.
You just have to learn certain technical things, like where the camera is, not to block people's light in your own, to hit your marks, and that you do it kind of piecemeal.
We worked six days a week [on the The Breakfast Club], so you have one day off. So on that Saturday night, it's not like we could all go out and have a drink because Molly [Ringwald ] and Michael [Hall] weren't old enough. And Ally [Sheedy] pretty much kept to herself. So Emilio and I, every Saturday night, would go into Chicago because we were shooting outside of Chicago in Des Plaines. It's so funny, because even though we might be adversaries in the film, we certainly weren't off-camera. He's a very funny guy.
I didn't even know what acting was at 11 years old. I truly believed that acting was hidden cameras everywhere. And I felt that these actors on the screen were somehow real people.
How are these people deserving huge payouts for losing weight when they should have done it without the camera or without a team helping them? Then, six months later you go back and find out where they are, and they're in a worse state than they were in before they joined the f - ing show. Then they blame the producer.
Kathie Lee [Gifford] invited me to come to New York for lunch with her - and surprised with an unexpected shout out again for One Thousand Gifts on the show and graciously asked a few questions on camera. Indebted to her and the people who read and looked for Jesus in the pages and shared the hope and joy of Him - right where they are.
When the camera is looking back at our planet Earth, it's the tiniest of specks somewhere out there in the universe. So we do have a new sense of proportion. Of course the volcanoes and the magma under us just remind us of that.
Of course, you do not do any research: you have to go there and do your film. It's not that I would travel there before without a camera and spend half a year on one of those volcanoes and then come back with a camera. You have to have some sort of a clear mindset.
I run my own film school, the Rogue Film School, and I do it over three and a half days, eight hours non-stop everyday; alone, single-handedly. But the difference is in the Rogue Film School I do have real human beings in front of me from all over the world, and of course there's this course as well, they can ask, talk about their problems and obstacles, finances, anything, you just name it. Whereas in the Masterclass, you are speaking to cameras.
By the way, today with digital cameras and editing on your laptop, and things like that, you can make a feature film, a narrative feature film easily for $10,000.
I always loved celluloid cameras in the early days that were sturdy and reliable. Even under tropical conditions and downpour of rain, it would still work.
Similar thing until today, with digital cameras you look after something like that as robust as they can be.
Follow AzQuotes on Facebook, Twitter and Google+. Every day we present the best quotes! Improve yourself, find your inspiration, share with friends
or simply: