You don't need 70 people in a White House press conference to tell people what happened there. You need a camera and maybe a couple reporters, and that's it.
With the camera you might even not need the reporters. But, you see, media can't trust you to watch [Barack] Obama without them telling you what you just saw and analyzing it.
I was always in front of the camera. My mom was really passionate about photography - I have pictures of my whole life. I've always just been in front of my mom's camera and it's always comfortable to me.
Things in the ring are definitely bigger, so that you can see them. But the movie world is completely different, and you have to hone things down because when that camera is so tight on you and so intimate and right up in your face, it's going to catch every little thing that you give it, and it's very easy to overdo it.
All you have to do to be a camera actor is tell the truth.
The live audience is a blind date. The camera is a hungry lover. One wants to be wined and dined and seduced and then decide where the evening will go. The other knows how it wants to be touched, wants it now and can damn well tell if you are lying about it. Both are fickle. Both feel good. Depends on your mood.
I love swimming in the darker seas, so even if I play a noble guy (well, like Lincoln for instance) I am pre-disposed to try and show the conflict; the regret; the less-than-perfect choices that any human faces. That's what I like and it seems to be what the camera likes to see me do.
I think you should do rehearsal and work at it, but when the camera rolls, you should be ready. Try to make it good the first time.
A good filmmaker is someone who can look at a piece and go, "This camera's really going to be a character. I want people to feel like they're being punched."
All the great advances in cinema came about from technology. The 3-D camera was not invented by a movie director. The new industries are driven by the innovations in science and technology.
I feel like doing theatre helps my on-camera work and my on-camera work kind of helps my theatre work. So I love to be able to bounce through the mediums.
I think about it all the time. I love filmmaking. Whether I'd be in front of the camera or behind the camera, I just love that world.
This uses a lens system, which I have used for years in various different ways, but I've never used it in the context of an interview. This is the very first time that I've done that. It's a lens called The Revolution, so it allowed me to interview Elsa [Dorfman] and actually operate the camera. Well one of the cameras, because there were four cameras there.
Neorealism taught us to follow the characters with the camera, allowing each shot its own real interior time. Well, I became tired of all this; I could no longer stand real time. In order to function, a shot must show only what is useful.
The script is a starting point, not a fixed highway. I must look through the camera to see if what I've written on the page is right or not. In the script, you describe imagined scenes, but it's all suspended in mid-air. Often, an actor viewed against a wall or a landscape, or seen through a window, is much more eloquent than the lines you've given him. So then you take out the lines. This happens often to me and I end up saying what I want with a movement or a gesture.
Before each new setup, I chase everyone off the set in order to be alone and look through the camera. In that moment, the film seems quite easy. But then the others come in and everything becomes difficult.
I think the most special thing about the chemistry is the intimate understanding of how to make each other laugh. At the end of the day, in order to portray a genuine relationship on camera, that's one of the most fundamental things that has to occur.
One of the most pervasive mistakes is to believe that our visual system gives a faithful representation of what is "out there" in the same way that a movie camera would.
[Betty in Two Evil Eyes]was my very first on-camera role. With Harvey Keitel.
I remember they did all the makeup tests on me for Darla... Sorry, for "the vampire." I was the test monkey for the vampire look, so I went through numerous variations of the prosthetics and camera tests before I actually got the job.
The fact that there aren't an abundance of African-American males that are getting lead roles [and] that are getting roles that have prominence on the big screen. [It's] the same thing from behind the camera; maybe even worse. Coming up, when you're black and you want to direct somebody says, "Oh, you're Spike Lee" or "You're John Singleton."
When I'm on stage, I feel like a performer for sure. I know people are looking at me and taking pictures. That part's wonderful. But, I live the most boring life away from what you see me on camera doing. The other 300 days out of the year I'm just the most normal person in the universe. I'm a wife. I'm a mother to my doggies. I'm a maid - I clean the house.
I love that you can shoot something on your phone, or shoot something on these small Cannon cameras, and edit it overnight and get it out there the next day and potentially go viral. And that's huge. It really takes the middle-man out. It allows anybody to become a content creator.
Men cannot act before the camera in the presence of death.
I don't really drink before a show. That's my only drinking rule. Especially with today's cell-phone cameras, there's no win to it.
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