What I do not like, the kind of high-resolution cameras, 4K, 6K, for shooting dialogue, for having faces and close-ups of actors, and you see every single pore in the skin.
We needed to do "Community Project" to feel comfortable doing our own thing, and then "That's It That's All" was this experiment with camera technology and shooting snowboarding a little differently. "Art of Flight" was that dream of "That's it That's All" realized. Then we didn't want to make an "Art of Flight 2," so we stepped back and tried to take a different approach to create a more multi-faceted film. "The Fourth Phase" has more of a storyline, and it was much more personal for me.
I got a massive overdose of gamma radiation from the Xerox machine and just printing call sheets, you know? By the time I stepped in front of the camera, I was very comfortable. It was great.
There's something a lot more self-conscious feeling when there's cameras coming in for close-ups. It makes you very aware.
This is a movie version of the play [All the Way]and when Bryan [Cranston] was on stage the bigness of the man was played to the back of the house. When we turned the cameras on that, it changed a bit with close-ups, but we got just as much power in that beautiful intimacy.
I want to be completely honest, I have to say that I love the intimacy of the camera.
When I first had a video camera to document a performance, it was in Sweden and I remember it was really crucial for me.
Zooming in, zooming out. I was shocked. I said, "Let's erase this right now, put the camera behind the stage and I'll do the performance just for the camera." He set up everything and I told him to go outside and smoke a cigarette. Come back when I finish. Don't touch the camera. This was the way how I've done most everything after that.
You`ve got James Comey on camera on Capitol Hill saying, - no, it is not much less of an offense than Hillary Clinton. In fact, it is far more serious. It was prosecuted.
The projector will soon disappear. The camera, not really. OK, it depends... it depends on change.
I don't have storyboards, but I have some very strict rules, like not moving the camera.
The thing about being a photographer that's so cool is that you get to participate, but you also get to disappear. The camera is in front of your face all the time.
A camera gives you a purpose.
The camera gives you some control.
In a lot of ways I look at these old photos, and I don't know if I would have been able to communicate with these people on this level if I didn't have a camera. I think I would still be so shy.
Everyone started to have a camera. That's when I started to travel outside of New York and go into nature.
I don't think I can break down any doors, but I'm thinking, "Maybe I can be a cameraman, because I love the cameras." And the cameraman would show me how to thread the film, how to repair it, the lenses. That's when you become, like, goony goo-goo about it. You breathe and eat camera, and all of a sudden, you don't want anything else in the world. You finally know, "This is my calling." When you're passionate about something, it doesn't become work. It's art and it's fun. It's arduous, it's sweaty.
Anything involving the camera, you're passionate about. Because there's no movies without it.
It's pretty intense to have someone (the camera) looming there when you are singing a song but it's sort of invigorating too.
As an actor, doing animation is definitely on the list of most actors because it is such a freeing, fun, different experience than being on camera. There's just something different about it that's not more fun, but a different sort of fun.
Animators do amazing working translating and interpolating the characters [in the Planet of the apes], the facial performances. What we're creating on set - if you don't get it on the day, in the moment, on set, in front of the camera, with the director and the actors. The emotional content of the scene and the acting choices.
We just grew to trust each other [with Patti Smith] more and more over the years. Most of the time I didn't even have a movie camera.
Over time it just got more and more intense as far as the trust factor. For example, when we started editing the film [Dream of Life], I thought, man, I need to make sense of all the footage I have; I need to ground the film. And one day I was hanging out in Patti's [Smith] bedroom, which is where Patti works, and in the corner of her bedroom is this great chair, and that's when she began showing her personal things to me. The camera was there, and we realized that we were really making the movie and making sense of the footage in the movie.
Many of my family members are teachers in the arts, and I picked up the camera years ago, in high school.
Sometimes my fashion pictures can look a little bit like documentary style pictures. So having a camera in my hand was normal.
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