A Quote by Joey Lauren Adams
No one was jumping up and saying, 'Yeah, let me give you money.' I had never held a camera in my hand - a home video camera, nothing. I had not directed.
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The only interaction I had with my brothers is like negative attention where I'd basically egg them on into beating me up - which was delightful! Otherwise, it was me with a video camera jumping on a bed pretending to be the Ultimate Warrior or setting up my robots making a Transformers movie because I was a lonely kid.
As a child I had been so afraid of so many things, but as soon as I held a camera in my hand, I began to expose myself to the very things that were foreign to me and that I had always feared.
You get some directors, and I can never understand it - there's a thing they call the 'video village' where all the monitors are, and you've probably seen it on set visits - I hate that! I never, ever like sitting in video village. I get either my own monitor or a hand held monitor, and I stand right by the camera.
I've always had two principles throughout all my life in motion-pictures: never do before the camera what you would not do at home and never do at home what you would not do before the camera.
I think the camera was always my obsession, the camera movements. Because for me it's the most important thing in the move, the camera, because without the camera, film is just a stage or television - nothing.
I've been acting since I was 2 and have always been on camera but doing a video is different because when you're acting, you pretend the camera's not there and you just do the scene and with a music video you're right in the camera so it feels weird sometimes.
The simple act of having a camera, not a cell phone, but a camera-camera, there’s a kind of a heightened perceptional awareness that occurs. Like, I could walk from here to the highway in two minutes, but if I had a camera, that walk could take me two hours.
With the fight scenes, they would take a video camera and shoot alongside the camera so we would piece it together on the computer and had an extremely rough cut of what we were doing.
My earliest memories are of my brother, pointing the home video camera at me and saying, "C'mon, Ange, give us a show!" Neither of my parents ever said, "Be quiet! Stop talking!" I remember my father looking me in the eye and asking, "What are you thinking? What are you feeling?" That's what I do in my job now - I say. "OK, how do I feel about this?" And I immediately know, because that's how I grew up.
My parents had bought a video camera for us to film Christmases and other family events. I took it down to the beach, set up a tripod, and I would grab two other friends, and we'd take turns filming and surfing. Then, at the end of the day, I'd go home and I'd make a video for everybody to watch.
I thought all I had to do was to buy a camera and become a film director. So when I left school I worked at a telephone company, which gave me the money to buy the basic equipment including the camera, the projector and the screen.
Being in front of the camera - first of all, when I wanted to get into television, it was as a producer. I never had an idea that I would do anything in front of the camera, and that kind of happened by accident. But I wanted to be a producer or give me a job with the Yankees or play for the Knicks. I was a sports nut when I was a kid.
Back in 2007, I met this white guy [director Peter Byck] with a lot of hair and a video camera, at a conference that I happened to be attending for the launch of an organization called Blacks in Green. I had never heard of him and Peter had never heard of me. We just started talking; he liked what I had to say, so he asked me if I'd be willing to be in this documentary he was doing about carbon pollution. I said, "Sure!" It was kind of a no-brainer.
I don't have a typical filmmaker background. I didn't grow up with a super eight camera or a video camera. I didn't start cutting movies when I was four or five.
When the photographer is nearby, I like to say, 'Quick, get a photo of me looking into the camera,' because I'm never looking into the camera. Christopher Nolan looks into the camera, but I think most directors don't, so whenever you see a picture of a director looking at the camera, it's fake.
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.
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