My aim in photography is always to convey a mood and not to impart local information. This is not an easy matter, for the camera if left to its own devices will simply impart local information to the exclusiveness of everything else.
Because I come from that old-school optics environment, I know stuff about depth of field and camera movement and things that are not necessarily a part of the curriculum for people who started on a box and have never done anything that wasn't on a box.
I've had cameras on me since I started the art of fighting and I think that I'm used to having cameras on me in adrenaline-type situations.
And then as I frequently do, some times I'll peek out from underneath the focusing cloth and just look around the edges of the frame that I'm not seeing, see if there's something that should be adjusted in terms of changing the camera position.
There was a camera club at Columbia, where I was taking a painting course. And when I went down, somebody showed me how to use the stuff. That's all. I haven't done anything else since then, It was as simple as that. I fell into the business.
I'll make fun of anybody. We're all about falling down and going boom on camera.
The digital camera has given me total freedom and a different way of filming.
Sometimes you find people who are magnetic, but once they get in front of a camera, they freak out and get weird.
That's the way I learned photography: You make your picture in the camera. Now, so much is made in the computer. . . . I'm not anti-digital, I just think, for me, film works better.
The sign at the entrance to my gym locker room says, no cell phones please, cell phones are cameras. They are not. A camera is a Nikon or a Leica or Rolleiflex, and when you strike someone with one, they know they have been hit with something substantial.
In an ideal world, I'd be able to do my shows in my pajamas. Luckily I've got one of the best stylists in the business, Rebecca Allen - she knows what looks good on camera and gives it a sexy kick.
I don't pretend to make my photographs speak the truth of what Mexico is all about. But in its villages I can feel the way culture is changing, and it's fascinating to live through it and try to capture it on camera.
The day I feel like I'm at an office job is the day I'll quit performing in front of a camera.
The camera is as subjective as we are.
You know what's more difficult to do organically? Laughing. It's actually one of the hardest things to do on camera.
I think the theater work and the on-camera work feed off each other. My theater work has become more simple, and my on-camera work has become more energized or more spontaneous.
Twitter makes you a comedian in the same way that digital cameras make you a photographer
I'm not an actor that tends to care. I don't ask 'Is this a close up? Is this a master? Is this a wide? What are you doing?'If I look up and notice the camera I go 'Oh, it's a big one today, must be an IMAX. ' And that's kinda it for me because it doesn't affect what I'm doing.
Sometimes I feel like. . . the world is a place I bought a ticket to. It’s a big show for me, as if it wouldn’t happen if I wasn’t there with a camera.
The camera does not know what it takes; it captures materials with which you reconstruct, not so much what you saw as what you thought you saw. Hence the best photography is aware, mindful, of illusion and uses illusion, permitting and encouraging it - especially unconscious and powerful illusions that are not usually admitted on the scene.