Not being well-versed in that arena myself, it's a little bit frightening because I'm not very good in those situations with lots of people and lots of famous people and cameras and all of that. It's not my specialty.
I think that I need to work on being comfortable at being normal, everyday-ish on camera. Unlike a lot of actors, I think that's the thing that I'm not so comfortable with.
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 always felt that if you're not trying something different each time out of the gate, you're being safe, and you don't ever want to find that place of safety. I like that, each time, before I even go in front of the cameras, the studio's reaction will be fear.
I've always been involved with all aspects of my careers. Being behind the camera seems as natural as in front.
When the camera comes on, I am not Hayden any more, I am Lizzie!
I'm always secretly the most pleased when a show just really, really looks good and when my camera guys are really happy with the images they got.
The fact that I have a little ten-megapixel camera with me all the time, is way better than having the greatest camera in the world sitting at home on a desk instead of on my shoulder.
When you see what you express through photography, you realize all the things that can no longer be the objectives of painting. Why should an artist persist in treating subjects that can be established so clearly with the lens of a camera?
The word reality scared me. I just looked at reality as everybody follows me around with a camera, and I'm not that kind of person. I fought for my privacy in England. And I didn't see another way it could be done.
Because I'm CGI, [John Swartz] gave me a role of an Imperial pilot in one scene, so I had a day where I was on camera dressed as a black suit and a little cap that they wear.
I know the microphones and cameras are on me. They're looking at my gestures and taking it and running with it because of things that have happened in the past. It's very unfair.
My preference is that, that day when someone sticks a tripod in front of you with a camera on the top, it is not day one.
There is no right or wrong angle for something. The idea of putting the camera in an unfamiliar position is simply to do with film language. Sometimes it is spectacular, sometimes it is ugly, sometimes it is uninteresting.
I went to USC and tried to learn about the other side of the camera a little bit.
I believe in preparation. As you already know we had to deal with many crews, 2 cameras. Also as I said we had to get many different actors because they tried to tamper with the project. I just liked doing the movie how I envisioned it. I wanted it to be my own.
Don't ever for a minute make the mistake of looking down your nose at westerns. They're art - the good ones, I mean. They deal in life and sudden death and primitive struggle, and with the basic emotions - love, hate, and anger - thrown in. We'll have westerns films as long as the cameras keep turning. The fascination that the Old West has will never die. And as long as people want to pay money to see me act, I'll keep on making westerns until the day I die.
You cannot explain the whole world in one photograph. Photography pretends. You can see everything that's in front of the camera, but there's always something beside it.
For an actress there is no greater gift than having a camera in front of you, listening to the most beautiful music in the world and just being looked at!
When I began to photograph nudes, I let myself be guided by this camera, and instead of photographing what I saw, I photographed what the camera was seeing. I interfered very little, and the lens produced anatomical images and shapes which my eyes had never observed.