With reality TV, sometimes it's amazing chemistry and you get these gems that turn out to be everything you hoped, and the camera loves them and they just blossom on the show. And then sometimes it's not all you envision.
Insane means fewer cameras!
I tend to want to go quite big in my acting, which you just cannot do in front of a camera. It's taken me a while to learn how to pull it back.
Then again, they're not scripted and I feel it's virtually impossible to be anything but yourself when you're in front of the cameras and cooking so there is a measure of truth in what you see.
Acting time is like flight time: You can work on a simulator, you can rehearse, but unless you're really in front of the camera or on a stage - that's when you really learn how to work it.
The camera adds ten pounds and ten thousand dollars.
He who writes must master the rules of grammar. He who shoots photographs needs only to follow the instructions as given by the camera. . . . This leads to the paradox that the more people shoot photographs, the less they are capable of deciphering them.
About shadows: do we see shadows? Loads of people don't. A camera will notice a shadow, but how many people have got a shadow in front of them when they take a picture and don't notice it, and then they see it in the photograph because the photograph will catch the shadow.
Raksin worked for Alfred Hitchcock, about whom one of the most famous Raksin anecdotes was spoken. The legendary director declared he wanted no music at all for the oceanic Lifeboat, because he felt audiences would wonder where the music was coming from in the middle of the sea. Raksin said, Ask Hitch where the cameras are coming from.
I don't take the camera out with me. My eyes are the camera for me every day.
I was very new to working in front of the camera when I started shooting Gatsby, so I set myself the mission of gleaning as much information as possible out of the much more experienced actors. The cast was astoundingly talented.
The last jobs I had were fixing cars and covering football games for a local access TV station. As in driving the mobile van to the field, setting up 3 cameras, teaching depressed grownups and interns how to use them and directing the game from the van and then wanting to kill myself.
Whatever she saw beyond the camera lens, beyond the photographer, beyond anything in the known world probably - wasn't fit to be seen.
The camera hound of the future wears on his forehead a lump a little larger than a walnut.
I'm never certain of a performance - my own or the other actors' - or the script or anything. . . But to me it seems there's only one place in the world the camera can be, and the decision usually comes immediately.
I have a feeling that demonstrations don't accomplish anything. That they become fads. I also feel that demonstrations wouldn't go on unless there is a TV camera. That part of it all is performance for the media. I didn't know whether they are completely honest.
I don’t have a philosophy. I have a camera.
People ask me to smile for the camera, but somehow it always comes out gloomy.
I never go to a gym unless I have to for a role, a contract. I try to take care of myself as a human being, not because I have to be in front of the camera.
I think Julianne Moore is very, very good. I've worked with her. We did Surviving Picasso. I remember one scene we did together. She had to have a nervous, a mental, breakdown in this one scene. I didn't have many lines. I just had to make sure I knew I came in on cue all right. And I was just watching her walking though the rehearsal. I thought I know what she's doing, "This is going to be terrific. " So they said, "Are you ready" and she said, "Yeah," "Ok, roll the camera. " And all in one take.