Taking employment out of the country - now that's taking away jobs. These shows employ a lot of people: production, post-production, music supervisors, camera people. A hundred people or more.
After you play husband and wife on camera multiple times, it becomes easy to be husband and wife off camera as well.
When they took me to do the camera test for the vampire make up, after they put the prosthetic on, I went though the entire process, I went back to my trailer and I looked in the mirror and I smiled.
No one was jumping up and saying, 'Yeah, let me give you money.' I had never held a camera in my hand - a home video camera, nothing. I had not directed.
The great hope is that people who wouldn't normally make films will be making them. Suddenly, one day some little fat girl in Ohio is going to be the new Mozart and make a beautiful film with her father's camera and for once the so called professionalism about movies will be destroyed forever - and it will really become an art form.
I totally love being on camera.
I guess people wonder if I'm the same on camera as I am off, and I'm pretty much the same, I really am. But that's always asked of me.
One of my favorite things to do is be in front of the camera and act.
House of Style' changed my life. I literally had no experience in front of a TV camera before, and there I was taking over for Rebecca Romijn. My exposure heightened instantly.
One time a guy handed me a picture. He said, 'Here's a picture of me when I was younger.' Every picture is of you when you were younger. 'Here's a picture of me when I'm older.' 'You son of bit, how'd you pull that off Let me see that camera. What's it look like'
I've always had the utmost respect and awe of what the lens can do and what a director can do with just a camera move.
I don't want to disrespect hip-hop by being something I'm not. I'm Pooch Hall. My strength is in front the camera and holding dialogue.
At least when you're acting you can be someone. In front of the camera you have to be yourself. And who am I?
In Hitchcocks eyes the movement was dramatic, not the acting. When he wanted the audience to be moved, he moved the camera. He was a subtle human being, and he was also the best director I have ever worked with.
Life without kids is like a camera without film.
The complete disregard for the camera's presence indicates its complete saturation in their lives. The subject neither notices nor seems to care that someone has been invited into their private moment.
The race car is harder to drive. If there was an in-car camera that could have watched me saw on that wheel for 500 laps, there wasn't one time I could relax.
I try to express in my films things that no other art can approach. In my monster films for example, I use special effects in the same way one would use a special film stock, a special camera, and so on. Monster films permit me to use all of these elements at the same time. They are the most visual kind of film.
She was the best model because she not only had perfect facial features, but a great body and wasn't ashamed to show it. It was impossible to take a bad photo of her. Bettie Page was always ready for the camera's eye.
I create other worlds, magical never-never lands where the camera is my weapon and the battles I fight are with the elements. i stretch the laws of the mind and displace people from their realities to capture a side of them they didn’t even know they had. Photography has the ability to freeze people in this time and space—no matter what happens after that moment, it cannot change—they are exactly how i want them to be.
I'm not the type of person to act one way in front of the camera and another when it's off. What you see is what you get.
I couldn’t stand in front of any camera, and I couldn’t go to places where there were a lot of people. I thought people would criticize me if I smiled, or even if I just stayed still.
Filmmaking isn’t if you can just strap on a camera onto an actor, and steadicam, and point it at their face, and follow them through the movie, that is not what moviemaking is, that is not what it’s about. It’s not just about getting a performance. It’s also about the psychology of the cinematic moment, and the psychology of the presentation of that, of that window.
In the editing room, 20 percent of the time you're using stuff from before the actor knew the camera was rolling or you're taking a line from somewhere else and putting it in his mouth.
If Im healthy, that comes across on camera.
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