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.
Either the camera will dance, or I will.
It really is a pleasure to work with someone who you admire. Whatever you do in front of the camera, and I don't know what it is, but actors have this thing that you recognize someone that makes you better. When you do that, it's a great feeling.
I had prepared myself for the second half of my life [to be] filled with other passions that don't include being in front of the camera. And then all of a sudden I got more work and more work and more work. And I went, "Well maybe things have shifted. " And I think they have.
The best camera is the one you have with you.
Because of the influence of the cinema, most reports or stories of violence are so pictorial that they lack content or meaning. The camera brings them to our eyes, but does not settle them in our minds, nor in time.
I like the idea of having a film that is choreographic in all its aspects, not only in the dancing scenes, but also in the way the camera and the characters move in order to have that feeling that it's always musical.
We grew up with a camera in front of us.
The delineation between the actor and his part is a practical matter. When the camera runs, you want the actor to be the character.
The joy for me of television is the sort of family feeling of being involved with an ensemble - the cast and the crew and the director of photography and the guys in the camera truck - and you're all coming together. There's a great feeling when that is a successful unit, a successful family.
Whether I'm in front of the camera, behind the camera, at my computer writing a novel or a screenplay, as long as I get to entertain someone out there, I'm happy.
The camera is a mirror with a memory, but it cannot think.
When I do work, I get so much done in such a concentrated time that once I’m through a series, I’m so drained I don’t want to get near the camera.
I went to USC and tried to learn about the other side of the camera a little bit.
Being an anchor is not just a matter of sitting in front of a camera and looking pretty.
My first modeling job was Gap, and my first time in front of the camera was for a Soda Pop Girls commercial - it's one of those Bratz dolls, Barbie dollsone of those.
I don't take the camera out with me. My eyes are the camera for me every day.
When I was little, I put on plays for my family at Sunday dinner, and I would direct them and have all my cousins, my brother, and my best friends in it. I was a very imaginative and theatrical child and wasn't afraid of being in front of a camera. It was like make-believe to me.
I was born in front of a camera and really don't know anything else
I feel more comfortable in front of a camera than anywhere else.