I always have a camera now that I've got a kid, but I don't think I've got one picture of anyone other than my daughter.
I was shocked the first time the paps got me in America - when a video camera is put in your face and you're asked questions and 15 people are walking backwards taking your picture. I was coming out of a pizza shop and had my daughter with me.
McLeod's Daughters' was my first regular job out of drama school, and my first full-time role. That was great because I learned a lot, in terms of working in front of the camera.
I said 'well, I'll kiss her twice, you see? We'll come around, I'll kiss her, and if you put a little more track down for the camera, then I'll put my tongue down her throat and you'll get what you want'. He said 'You think so?'
We changed our rules. If a player does not have some sot of altercation on or off the court once each month, we fine him...The guys that are our top four scorers, each of them will be required once every two months to appear on MTV. The guys who shoot the worst free throws over a one-month period, next time we have a TV game they're required to look into the camera and beat their chests after they make a good play.
This is not a phone business. This is the smallest video camera, it's the smallest computer, smallest TV.
The furies are at home in the mirror; it is their address. Even the clearest water, if deep enough can drown. Never think to surprise them. Your face approaching ever so friendly is the white flag they ignore. There is no truce with the furies. A mirror's temperature is always zero. It is ice in the veins. It's camera is an x-ray. It is a chalice held out to you in silent communion, where gaspingly you partake of a shifting identity never your own.
One is not really a photographer until preoccupation with learning has been outgrown and the camera in his hands is an extension of himself. This is where creativity begins.
The modern world is not given to uncritical admiration. It expects its idols to have feet of clay and can be reasonably sure that the press and camera will report their exact dimensions.
If I had stood at the free-throw line and thought about 10 million people watching me on the other side of the camera lens, I couldn't have made anything. So I mentally tried to put myself in a familiar place. I thought about all those times I shot free throws in practice and went through the same motion, the same technique that I had used thousands of times. You forget about the outcome. You know you are doing the right things. So you relax and perform.
I'm much more comfortable and confident running out on the field in front of 70,000 people instead of standing in front of a camera trying to say some lines.
There's just such a premium on hurrying, and the camera is the be all and end all, and the actors had better hurry up and get it right and get it done.
One should really use the camera as though tomorrow you'd be stricken blind. To live a visual life is an enormous undertaking, practically unattainable. I have only touched it, just touched it.
I don't like the strictly objective viewpoint [in which all of the characters' actions are described in the third person, but we never hear what any of them are thinking.] Which is much more of a cinematic technique. Something written in third person objective is what the camera sees. Because unless you're doing a voiceover, which is tremendously clumsy, you can't hear the ideas of characters. For that, we depend on subtle clues that the directors put in and that the actors supply. I can actually write, "'Yes you can trust me,' he lied." [But it's better to get inside the characters' heads.]
To shift the structure of a sentence alters the meaning of that sentence, as definitely and inflexibly as the position of a camera alters the meaning of the object photographed.
I began to realize that the camera sees the world differently than the human eye and that sometimes those differences can make a photograph more powerful than what you actually observed.
The camera sees more than the eye, so why not make use of it?
The camera adds a certain sheen to things. Something about being frozen in time really makes things sparkle.
The picture is good or not from the moment it was caught in the camera.
It's more important for a photographer to have very good shoes, than to have a very good camera
There is a creative fraction of a second when you are taking a picture. Your eye must see a composition or an expression that life itself offers you, and you must know with intuition when to click the camera. That is the moment the photographer is creative. Oop! The Moment! Once you miss it, it is gone forever.
My interest in photography did not begin with books or mentors, or with any burning desire to see the world through a camera. It evolved from an intense devotion to mountains and wilderness that eventually shaped all the parts of my life and brought them together.
I was given a small camera as a wedding gift from a very dear friend. My first pictures were taken on my honeymoon. As soon as I became familiar with the camera, I was intrigued with the possibilities of expression it offered. It was like a discovery for me.
I have a way to photograph. You work with space, you have a camera, you have a frame, and then a fraction of a second. It's very instinctive. What you do is a fraction of a second, it's there and it's not there. But in this fraction of a second comes your past, comes your future, comes your relation with people, comes your ideology, comes your hate, comes your love - all together in this fraction of a second, it materializes there.
Life as it unfolds in front of the camera is full of so much complexity, wonder and surprise that I find it unnecessary to create new realities. There is more pleasure, for me, in things as-they-are.
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