Stage performance is obviously a much grander sort of depiction. The audience isn't right in your face as close as a camera lens gets.
Everywhere we walked we got plenty of attention due to the camera and sound men. The locals love to get on camera. [. . . ] I'd seen footage of Gandhi surrounded like this and always thought it was because he was very popular, but now I wonder if it was just because he had a camera crew with him.
I always loved celluloid cameras in the early days that were sturdy and reliable. Even under tropical conditions and downpour of rain, it would still work.
If we put the camera on ourselves, our friends and neighbors, we'll come up with some scary stuff.
I am going to get officers training to deescalate situations, ban racial profiling, and make body cameras available.
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.
Well, I tried being in front of the camera as a student and that was terrifying. But the press stuff about me growing up on his [film] sets has been exaggerated. I was an extra as a kid and I was also a PA [production assistant] on one of his movies, so I was lucky to get production experience. But I was nowhere near him.
A camera is a camera, a shot is a shot, how you tell the story is the main thing.
There's just something about getting up, putting it out there, and getting this exchange of energy. Whether your audience is a camera lens, or live theater, or whatever it is, just putting that out there and getting it back is just an honor.
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.
Film and television is just a different technique in terms of how to approach the camera but basically the job is the same; but what you learn as a craft in theater, you can then learn to translate that into any mediums.
I like the days when all the filmmakers had was a film roll, a camera and a gangster. The Mack Sennett comedies were all like that. They'd create little teams to go out and shoot films.
I love improvisation. You can't blame it on the writers. You can't blame it on direction. You can't blame it on the camera guy. . . It's you. You're on. You've got to do it, and you either sink or swim with what you've got.
Having done stand-up on television and in stand-up specials for like Comedy Central, you learn quickly that for that type of performance you're playing to the camera.
Film has always been hard for me, I'm basically a stage actress. I never felt comfortable in front of the camera.
Hitchcock makes it very clear to us. There's an objective and a subjective camera, like there's a third- and a first-person narrator in literature.
My camera is my compass; it's guided me to so many different places.
The possibility of being as free with the camera as we are with the pen is a fantastic prospect for the creative life of the 21st century.
Beyond the rudiments, it is up to the artist to create art, not the camera.
As the lead of a movie, you really set the tone off-camera as well, and that's a really big responsibility.