There's so much stuff going on behind the cameras. Sometimes people think these things are done certain ways and when you watch that you see how hard and down and dirty it was.
Of course, we're supportive of the gay and lesbian community. I've just never portrayed that on camera. Once I met Taylor [Schilling] I knew that it was going to be really comfortable and okay, but the nudity was a little bit of an issue for me.
There was a lot of stuff [in Rock of Ages] that had effects in it and I thought it was too smooth. I thought it would be sexier if it were in-camera cuts. So I did that.
One of the things about working for an old school studio like Warner Bros. is that there is an institutional culture and institutional memory, in terms of production design, camera work, and directors who understand how to do this kind of thing.
The camera cannot leave the man, but the man can leave the camera. It's in the style of documentary where you make an agreement between a camera and a man and say, "I'm going to film you now."
We were in production on a movie called All the Real Girls, which filmed in the Fall of 2001, and we really discovered who Danny McBride was, as an actor. When I say we, I mean me and a crew and a small audience that would hit the art house. He'd never acted before, and it was a really refreshing, eye-opening experience to watch him unleash, in front of the camera, all this comedic potential that we knew he had, as a human being and as the guy doing keg-stands at the party.
I do voiceovers, but being on-camera and selling something? I wasn't really interested. And then I thought, well, wait a minute. Everybody's selling something. When you turn on the tube... And then if you go to Europe or Asia, everyone is selling something. All the guys that don't want to be seen selling something here are selling something there. So I thought what the hell?
Learning about acting for camera is really quite exciting to engage with and deal with.
I'll never forget the moment when I saw a red light go on, on the camera, and that image translated to the monitor, and then a different light went on and the shot changed, and I went, "Wow, that's how it's done! That's how that gets to my TV! This is what I want to do with my life!" I literally had that moment of epiphany, at eight years old.
I was so lucky to be working with amazing actors like Shia and Evan and James Buckley and Mads Mikkelsen and Rupert Grint and Til Schweiger and those guys, so you really want to make sure that they, that I don't have to shut off the camera because I'm running out of film or it becomes too expensive.
...my camera is my friend, and I take it everywhere.
As long as cameras are around no artist will be free of bewilderment.
There is something abominable about cameras, because they possess the power to invent many worlds. As an artist who has been lost in this wilderness of mechanical reproduction for many years, I do not know which world to start with. I have seen fellow artists driven to the point of frenzy by photography.
Let's face it, the human eye is clumsy, sloppy, and unintelligible when compared to the camera's eye.
Every video from Russia is depressing, it's like they have their cameras set to sad.
It occurred to me the other day that I've made out with more people on camera than I have in real life!
It's very simple... this banging around with a camera and typewriter as a business is just one helluva lot of fun.
Considering that knowledge of the chemical as well as the optical principles of photography was fairly widespread following Schulze's experiment (in 1725)... the circumstance that photography was not invented earlier remains the greatest mystery in its history... It had apparently never occurred to any of the multitude of artists of the seventeenth and eighteenth centuries who were in the habit of using the camera obscura to try to fix its image permanently.
The same camera that photographs a murder scene can photograph a beautiful society affair at a big hotel.
Find the most puzzling kind of art you can think of, and then go out and try to approximate it with your camera. Take a photograph that corresponds to it. (Assignment to students.)
There is an ineffable but fatal difference in attitude between people behaving naturally and people behaving naturally for a camera.
The dominant problem of pictorial art since the nineteen-fifties is photography, and, by extension, film and video. The basilisk eye of the camera has withered the pride of handworked mediums. Painting survives on a case-by-case basis, its successes amounting to special exemptions from a verdict of history.
We used the camera only as a means of expression and as a visual medium that offers possibilities found in no other artistic technique, possibilities that the eye cannot catch in their totality. We tried to establish a characteristic vision of photography.
The photogram, or camera-less record of forms produced by light, which embodies the unique nature of the photographic process, is the real key to photography.
I hope we'll be able to see that in our lifetime: the end of the camera! When I'm in Paris, I'll buy a big bottle of champagne and I'll save it for that day, for the day when they'll be no more camera.
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