Back in the day, no one had digital cameras. They took these pictures of me, got them developed, and then mailed them to me.
My filmmaking really began with technology. It began through technology, not through telling stories, because my 8mm movie camera was the way into whatever I decided to do.
With camera phones and, you know, iPad's and cameras at stoplights, it's like I just want to drive around with a bag on my head because I just feel like everyone's watching.
When you are younger, the camera is like a friend and you can go places and feel like you're with someone, like you have a companion.
In animation, there's silly things I get to do with my voice. I get to have a wider range, so my voice gets to dance more than it does on camera.
He owned an expensive camera that required thought before you pressed the shutter, and I quickly became his favorite subject, round-faced, missing teeth, my thick bangs in need of a trim. They are still the pictures of myself I like best, for they convey that confidence of youth I no longer possess, especially in front of a camera.
I prefer working behind the camera.
I like to hide my camera and use a remote control, because then no one knows when I'm actually imprisoning their souls in the visual plane of thought or just sitting there, waiting, and then making time stop. The printed film is like a bell used to symbolize its hour. Except it stands for both that hour's and everything's sudden stopping.
I found that each time I opened my camera and filmed Jerusalem, its image was overtaking what I wanted to express.
I definitely feel much more comfortable in front of the cameras after 'The Hills. ' Before, it was much more nerve-racking.
Some of the downbeat pictures, in my opinion, should never be made at all. Most of them are made for personal satisfaction, to impress other actors who say: "Oh, God! what a shot, what camera work!" But the average person in the audience, who bought his ticket to be entertained, doesn't see that at all. He comes out depressed.
My dog, Puffy. The dog is the perfect portrait subject. He doesn't pose. He isn't aware of the camera.
When I moved to London, you could park your motorcycle in the pavement, on the sidewalk. We would stay here and just leave it and go about your business. But now something was sort of encroaching in London. There's cameras everywhere. You can't do anything. You're not allowed to be in a group.
You see what you understand, You have to be prepared to see the world. The moment of clicking the camera is almost irrelevant. What is really important is what happens before and after you take the picture.
I don't mind looking to the camera - it's people that throw me.
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.
I like to know where the camera is.
I don't want to direct music videos at all. Any work I do with a camera I'd like to be for a film.
Always carry a camera, it's tough to shoot a picture without one.
As an actor, if you're just sitting and staring and you don't know who you are in your own mind, it's vacant. And sometimes the camera is an X-ray machine, it can pick it up.