The camera lies all the time -- lies 24 timessecond.
If Im healthy, that comes across on camera.
I think people of all occupations, whether it's the camera - puller or the man who's doing the catering, they can identify with Rambo's frustrations, with the veteran's frustrations.
When I was starting, I was very much influenced by the straight up, eyes to camera style of August Sander. He is really the only one. Had I known then the work of people like Ken Russell, Vivian Maier, Helen Levitt, and Steven Berkoff, they would undoubtedly have influenced me too.
The way I photograph. . . in many ways it's directed by chance and all my mistakes, which are often the best stuff. I found that no matter if it's the same tape, the same TV, and the same camera, I can never duplicate an image. . . your arm jiggles, there's just too much chance. And I never put it on pause, or use any of that fancy equipment.
When I was an actor in some movies a long time ago, I was so curious about all the camera movements - why is the camera placed here, and why does it move like this? And why the set and the background, the color? It's a lot of questions for me to ask, because I was so interested, not only in acting, but also the whole process of filmmaking.
I think I'm better behind the camera than I am in front.
Actually, the camera was never overhead at any time. It was always a side view of me. Subsequently, after the picture was released, I saw some scenes from above and my clothes being pulled-and I think that was added later.
The key is to not let the camera, which depicts nature in so much detail, reveal just what the eye picks up, but what the heart picks up as well.
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.
We were using a hand-held camera to film the scene when Morse collapses. The camera wouldn't start. Three times they said action and it still wouldn't work. To this day, they still don't know what was wrong.
I can't live and hold the camera, someone gotta take this
I would love to work with Adam Sandler. Because then all I'd have to do is just turn the camera on and off.
I would still encourage somebody, if they wanted to make a movie, to just go take a movie camera. That's clearly been shown to work. It's just how do you get it seen?
Stanley Kubrick was brilliant at getting under the audience's skin. He was very interested in the idea of, 'How can I tell this with just a camera?'
The hand of the painter is incurably mechanical: his technique is incurably artificial. . . The camera. . . is so utterly unmechanical.
The camera is no more an instrument of preservation, the image is.
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.
Photographs also show the way that the camera sees. It's not just me or you or anybody else. The camera does something that is different from our own setting.
With dancing, you have to know spatial movement with somebody. It is steps. It's literally steps and knowing how close to be or how far away. You have to have the beat in the right place with the camera.