The camera is really the play-by-play person.
You can make an editorial comment about the play while it's going on. You don't have to be bogged down by the details because the camera is showing the groundball to short.
I built my own studio. I don't have the professional language to describe it because I'm not a videographer - but I'm a technician. So I get the camera, I get all the things that translate the camera to the computer, I set up a live session, I do the security on it, I set up a background so I can key it out, like newscasters do, and replace it with whatever I want - and I can be anywhere I need to be.
In the age of the camera phone it's a bit weird when you're sitting having dinner in a restaurant and people think they're being very subtle taking a photo while in fact they're being very obvious. When you're in a middle of a mouthful with friends or family and people come up asking for a photograph, that's when you want to say, 'Actually, I'm going to say no; I'd like to finish my meal. This is my time.'
Television was first conceived to be used as some kind of telescope, not for broadcasting. Originally, Sworkin, the inventor of television, wanted to settle cameras on rockets so that it would be possible to watch the sky.
Newshounds are people with mini-video cameras, people who are continually taking pictures in the street and sending the tapes in to CNN. These Newshounds are a sort of pack of wolves, continually looking for quarry, but quarry in the form of images.
When you are on the set, you have different departments - you got camera, sound, props, hair, makeup, catering, executives. Imagine each one of those are spokes on the wagon wheel. All the spokes come into a hub: the hub is the director. The wood the spokes go into are distribution and promotion; the steel wheel around the hub is the film. None of these have anything in common with each other.
The more we can put the camera in a better place, the more we can take the audience on a more extreme journey with that character.
We did some camera tests blacking it out, we made a prosthetic with a gap in it, but that made me look like a donkey, so I vetoed that right away. And then I just finally called my dentist and said, 'You know, I've had this implant for 20 years. What's it involve in taking it out?' And he said, 'It's actually not that big a deal. We can do that.' So we took it out and I was toothless for three months, for the run of the movie [ The Hangover] .I take my job very seriously.
I'm an observer in life, not a participant. That's why I'm a documentarian who looks through a camera. I'm not a touchy-feely person; I'm not a seminar person.
I actually have come to believe that if people were more connected to their fellow human beings, if we all felt more centred and fulfilled in our lives, maybe we would be pointing our cameras at a lot less social ills.
The modern artist is living in a mechanical age and we have a mechanical means of representing objects in nature such as the camera and photograph. The modern artist, it seems to me, is working and expressing an inner world - in other words - expressing the energy, the motion, and other inner forces.
My mentality is: I'm going to do it. I'm going to eat a lot of food, and then I'm going to complain about it when I see myself on camera.
I love the theater, and I did tons of theater before I ever did anything in front of the camera, but I haven't done anything in New York in a while, and I really, really want to. I've been offered a few things, but it's got to be something that works, because it's so disruptive to the family that it's got to be something that I cannot turn down.
Kids want to be professional footballers and I think they need to know what it takes to get there - you know, the dedication. People see footballers playing on a Saturday afternoon in front of the TV cameras, but from a Monday to Friday people don't really see what goes on.
It's true that I don't think I'd be a good director. If I were a director, I'd try to hire the best people I could and then leave them alone. I don't know much about cameras or lighting, so I'd make sure that I had a really good cameraman who understood lenses and lighting, and I say to him, "This is the scene we have to shoot and this is what I think it should be, you go do it." Same with actors. But really, very good directors who know everything do basically the same thing. They hire you and then they leave you alone.
I grew up in music theater playing to the audience - singing and dancing and showing off. That's really my background. But the camera's different. I think I'm more at home on stage.
Of course, the whole photographic process has been made much faster, cleaner and far more accessible to people by digital innovations, which is really great. Everybody now has a camera, often as part of our phone, and most of these cameras require little to no technical training. An enormous variety of apps also enable us to take short cuts to finished images. We hardly need to even think anymore.
I encourage playfulness and experimentation with both the camera and subject matter. Sometimes there is an obvious perspective, but it is important never to be satisfied with that.
Everybody now has a camera, whether it is a professional instrument or just part of a phone. Landscape photography is a pastime enjoyed by more and more. Getting it right is not an issue. It is difficult to make a mistake with the sophisticated technology we now have. Making a personal and creative image is a far greater challenge.
If I had to give advice to other photographers, I would first suggest quickly getting over the camera equipment questions. In my humble opinion, the make and format of a camera is ultimately low on the priority scale when it comes to making pictures.
Craft is important, but cameras for their own sake are not. A sense of aesthetics, a connection with the subject matter, an enquiring and an inquisitive mind, these factors outweigh whatever equipment we use.
I'm an actor that loves to eat on camera. I love it. Something about the act of eating means that you actually can't act as much. You have to be involved in the very real task of trying to ingest sustenance without choking and dying. Something about that process takes the heat off trying to act and often feels more natural.
What I wasn't used to was being in front of the camera.
It's hard to put yourself in front of a camera, in front of the world, when you don't feel like you look the part. I've always had that problem. But I deal with it every day. When I'm interviewing, I'm like, "How do I look? Do I look all right?"
Follow AzQuotes on Facebook, Twitter and Google+. Every day we present the best quotes! Improve yourself, find your inspiration, share with friends
or simply: