So anyway, I've learned a lot about myself just in terms of acting but just work ethic and interesting things like full-page monologues or talking straight into camera, which I had never gotten to do before.
One of my fantasies in my life has been that I was granted access with a camera to go back in time, and to film the actual campaign of Alexander crossing into India through Iran and Persia.
I was bullied as a kid, and I got a job on television. And I had a camera. And so I wanted to go after those business bullies. And I just have been following that instinct.
Technology is supposed to make our lives easier, allowing us to do things more quickly and efficiently. But too often it seems to make things harder, leaving us with fifty-button remote controls, digital cameras with hundreds of mysterious features and book-length manuals, and cars with dashboard systems worthy of the space shuttle.
With reality TV, sometimes it's amazing chemistry and you get these gems that turn out to be everything you hoped, and the camera loves them and they just blossom on the show. And then sometimes it's not all you envision.
Because the writer must be a participant in the scene, while he's writing it — or at least taping it, or even sketching it. Or all three. Probably the closest analogy to the ideal would be a film director/producer who writes his own scripts, does his own camera work and somehow manages to film himself in action, as the protagonist or at least a main character.
I grew up in the business since I was three years old so I've always kind of been in front of the camera and grew up in commercials and I knew that I wanted to do it no matter what, I just loved it.
They both go together; you can't be in front of the camera hosting a fitness television show in front of 75 million households and not have trained 6 days per week year round - in a bikini no less.
I mean yes to act out something or take chances in the performance is one thing. But in terms of a camera, whatever's captured is captured so that's a little more daunting.
I don't think I approach my songs differently from other artists. You get a big picture of it, and you imagine the song and hear and feel it, and that big picture is like a snapshot, and it comes to you as fast as it takes to click a camera.
For the camera, particularly, I feel like - I think that, as human faces become older, they become more interesting.
I'm never certain of a performance - my own or the other actors' - or the script or anything... But to me it seems there's only one place in the world the camera can be, and the decision usually comes immediately.
Making 'The Avengers' was very important to me, but it was also extremely arduous. I missed my friends and I missed my home, so I decided to throw them all on camera, which is the only way I seem to know to relate to people.
I love improvisation. You can't blame it on the writers. You can't blame it on direction. You can't blame it on the camera guy... It's you. You're on. You've got to do it, and you either sink or swim with what you've got.
I remember the beginnings of the Kurzweil reading machine. I was one of the first to meet Ray Kurzweil and purchase the reading machine in Boston. To think that the machine was at least two and a half large suitcases at the time, and now you have a camera and it takes a picture and you have sound.
You know, I do music. If you look under the hood of the industry I'm in, it's all based on technology. From radio to phonographs to CDs, it's all technology. Microphones, reel-to-reels, cameras, editing, chips, it's all technology.
In Hong Kong, particularly, we craft this art for decades. The action choreographer actually is the action director. He takes over and he choreographs with - by himself or with his team, and place the camera where he feels cinematic effect to bring out that choreography.
There's a lot of thinking when you choreograph something. You're not just choreographing some bodies, arms, legs flying around to look cool. It's a lot more complicated and sophisticated. You also have to deal with the connection of the whole film, so when I choreograph, I think of the movement itself, the camera angles, the characters.
Theatre is liberating because it only works if it's truthful, That's what it requires. That's not true of film: the camera does lie.
Look at something like cooking. Now, you would hear a lot about smart kitchens and augmented kitchens. And what do those smart kitchens actually do? They police what's happening inside the kitchen. They have cameras that distinguish ingredients one from each other and that tell you that shouldn't mix this ingredient with another ingredient.
Surveillance cameras might reduce crime - even though the evidence here is mixed - but no studies show that they result in greater happiness of everyone involved.
Why does crime happen? Well, you might say that it's because youths don't have jobs. Or you might say that's because the doors of our buildings are not fortified enough. Given some limited funds to spend, you can either create yet another national employment program or you can equip houses with even better cameras, sensors, and locks.
The AP has only so many reporters, and CNN only has so many cameras, but we've got a world full of people with digital cameras and Internet access.
It was an excess of fantasy that killed the old United States, the whole Mickey Mouse and Marilyn thing, the most brilliant technologies devoted to trivia like instant cameras and space spectaculars that should have stayed in the pages of Science Fiction . . . some of the last Presidents of the U.S.A. seemed to have been recruited straight from Disneyland.
Off-camera lives are unverifiable.
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