Cameras Quotes

We put out a live thing, it seemed more like a bootleg though but, it would be nice to see like a concert filmed with like good cameras you know, instead of just DV cams.

When you're on set you don't realize the way something is going to look since you're on the other side of the camera.

It's easier to do an action scene than a love scene. I love fighting. When the camera's not rolling, I'll usually punch some of the actors, just for fun.

I would never invite cameras into my life again.

I'm a film rat. I love being in front of a camera. I love being behind a camera. I love talking to the director. I love talking film.

There's no audience to wonderfully get in your way when you're doing a single-camera anything, whether it's a sitcom or drama or film. And I do mean that in the best way.

I use an 8 x 10 view camera. All other cameras are just toys.

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.

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.

The camera looks into your soul.

I paint what I see, not what a camera would see.

I've heard that it's some kind of weird two-lens system where the back camera uses two lenses and it somehow takes it up into DSLR quality imagery.

[Brad Furman] wants to try stuff, he's willing to try stuff. And he wants electricity on the camera. And that's what I want, I want electricity whenever I'm performing.

I don't mind looking to the camera -​ it's people that throw me.

Pictures... are also opinions... [they] set down what the camera operator sees and he sees what he wants to see and what he loves and hates and pities and is proud of.

I'm not really one to be on camera, I'd rather be writing songs.

When in doubt, I can stare blankly. The rubber face. There's only so many ways you can stare incredulously at the camera and tilt an eyebrow, but that's your old standby: What would Buster Keaton do?

Just as the camera draws a stake through the heart of serious portraiture, television has killed the novel of social reportage.

You have to understand where the camera needs to me. There were times where you were suddenly aware where the cameras were, then you were in a different place and it didn't feel like the same movie.

I'm focusing on my efforts behind the camera. I'm doing some producing and directing so that I can make projects for all of the amazing, talented actors and crew that I know.

Sometimes you just gotta get in front of the camera because sometimes you have a long break between things, or you're auditioning and maybe nothing's really happening.

I think at this point, I'd eventually like to work behind the camera. That's not to say I would never act again, I'm not quite sure to be honest.

I don't actually like blocking actors. I prefer giving actors freedom. They don't have to step on a precise mark with me. Instead of giving marks to the actors I like to give marks to the camera.

I wish that every director was as interested in doing as much in camera and with physical objects as much as possible as J.J. Abrams is.

We had the camera locked, but not the location of the sun.

Ninety-eight per cent of actors who actually make a living do so in front of a camera.

I feel that doing theater does give you a good grounding to work on camera. The audience is the lens.

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.

The camera can move, you can make the shots, blah blah blah, but as long as the actors are good, you have something.

It's so hard, because everyone's got a camera-phone, and everyone wants to get their picture on the blogs. So they'll send anything that they have to the blogs. So you don't really get any privacy.

I think Jon Foo and my chemistry is incredible! Foo is a genuine introvert and I'm a genuine extrovert. We're the perfect ying and yang, on and off camera.

It's been an extraordinary journey. I have learned so much along the way. I entered the modeling industry as a business person already. I always knew I belonged on the other side of the camera.

I made the intentional choice to step behind the camera.

I know how to tell a story to a thousand people. Sometimes I don't know how to tell a story to a piece of tape on a wall and a camera.

I was paying attention to where Steven Soderbergh had the camera and his shots. I was blown away.

I was always interested - I mean, it's kind of part of your job - I was always interested in the camera.

I want to rob a bank so much - and I'm from the Midwest, so we have like one bank, no security cameras, and so I designed this thing.

Motion capture is amazing. I prefer it. You wear a 'Power Ranger'-esque suit, you have tape balls on you, you have 60 cameras around you capturing your every movement and there's no hair, no makeup.

Twitter makes you a comedian in the same way that digital cameras make you a photographer

If I want a small take-everywhere camera, I prefer my iPhone 5, which has colors and tonal range superior to any DSLR or compact digital camera I've ever used at their default settings.

I wouldn't want the federal government dictating how I use my cameras, every community has their own issues and their own dynamics.

I grew up in New York, so I fell in love with acting on a stage, not in front of a camera.

For me, being in front of the camera and training go hand in hand.

TV cameras seem to add ten pounds to me. So I make it a policy never to eat TV cameras.

I was probably 34 when I got my first on-camera acting job, and it was through a friend of mine, who was working as a writer on the show, and I've never been more frightened in my life.

I love what I do and being in front of the camera. But I never want to limit myself to just one thing and just venture out into new things.

The television anchorman Dan Rather turns up in rag-top native drag in Afghanistan, the surrogate of our culture with his camera crew, intrepid as Sir Richard Burton sneaking into Mecca.

I love TV. I think I'd do a half-hour single-camera comedy.

When I first moved from photography to filmmaking, I was worried about how big I had to become. I was one person, or maybe me and an assistant, and I had these small cameras, and maybe a flash.