Quotes 21 till 40 of 62.
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In Goodfellas they have this one scene where the camera goes down some steps and walks through a kitchen into a restaurant and the critics were all over this as evidence of the genius of Scorsese and Scorsese is a genius.
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In Hitchcock's 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.
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In social situations, when I'm surrounded by people, I become very shy. But if there's a camera in front of me, I feel free.
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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.
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In the South or in the mine country, wherever you point the camera there is a picture.
The Photographs of Ben Shahn -
In the theater, while you recognized that you were looking at a house, it was a house in quotation marks. On screen, the quotation marks tend to be blotted out by the camera.
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In the U.S., it's like, you start with a great script, and then on set - not everybody, but definitely in the Apatow group - you go off, and you're improvising on camera. So while you're on camera, you're saying things that no one else has ever heard before during the actual take.
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It's a heavy weight, the camera. Now we have modern and lightweight, small plastic cameras, but in the '70s they were heavy metal.
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My heroes are the camera crew and the electricians. They work such long hours.
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My two boys were the same ages as the kids in the show. In real life or in between the breaks I was raising two kids off camera who were not unlike the two kids who were being paid to be my kids.
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My two boys were the same ages as the kids in the show. In real life or in between the breaks I was raising two kids off camera who were not unlike the two kids who were being paid to be my kids.
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Practicing going over scenes and in front of the camera just to see how that feels, and then ultimately just finding a way to expose yourself to people. That's what I did.
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Service to many leads to greatness-great respect, great satisfaction. Success is not having to wait until someone goes to Hong Kong before you get a camera.
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She claimed she loved the camera, its warmth, its familiarity. She responded to its naked glare, its slavish attention to every expression of her face and body, with the kind of immediacy a trusted lover could expect.
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Some time ago, we went to Asia and took a camera along, and I began to do what I'd done even years ago doing people. I couldn't get interested in it. And I did hundreds of photographs of details of the monuments as sculpture.
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The actor already comes with emotions to the scene: fear, the fear of being in front of the camera. It is this fear that spurs the emotion of the scene. I too am afraid; I don't know exactly what I am searching for. On the set, we are all participating in this fear together.
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The camera can represent flesh so superbly that, if I dared, I would never photograph a figure without asking that figure to take its clothes off.
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The camera does not like acting. The camera is only interested in filming behaviour. So you damn well learn your lines until you know them inside out, while standing on your head!
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The camera introduces us to unconscious optics as does psychoanalysis to unconscious impulses.
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The camera is interested in what you are thinking as opposed to just what you are doing or saying.
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