At the end of Requiem all I wanted to do was get a DV camera and just do a small film. But then the hunger comes back.
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.
I don't mind looking to the camera - it's people that throw me.
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?
I feel that working with the camera and editing it is actually my strong suit.
I grew up in the business since I was three years old so I've always kind of been in front of the camera and grew up in commercials and I knew that I wanted to do it no matter what, I just loved it.
Improvisational things about picture-making. . . learned from working with the small camera early on have served me well in being able to think quickly when making [portraits].
My great joy in working on anything is stepping out in front of the camera and working with the actors.
If you put your cameras down you might be able to live in the moment. You have a memory there of something you've never lived.
Pictures. . . are also opinions. . . [they] set down what the camera operator sees and he sees what he wants to see and what he loves and hates and pities and is proud of.
With this kind of camera-phone madness we have got, moments are diluted into self-contained edited experiences.
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.
The writer must be a participant in the scene. . . like a film director who writes his own scripts, does his own camera work, and somehow manages to film himself in action, as the protagonist or at least the main character.
The camera could be a very powerful instrument against discrimination, against poverty, against racism.
The AP has only so many reporters, and CNN only has so many cameras, but we've got a world full of people with digital cameras and Internet access.
I have been doing commercials on camera since I was ten.
I was mentioning with the digital camera, maybe this new fashion of filmmaking gives a closer look of what life may be like. But it's still nothing but a copy.
And then as I frequently do, some times I'll peek out from underneath the focusing cloth and just look around the edges of the frame that I'm not seeing, see if there's something that should be adjusted in terms of changing the camera position.
Should there be cameras everywhere in outdoor streets? My personal view is having cameras in inner cities is a very good thing. In the case of London, petty crime has gone down. They catch terrorists because of it. And if something really bad happens, most of the time you can figure out who did it.
As a whole, I am interested in the symbolic, rather than the literal use of the camera.