A Quote by Orson Welles

A film is never really good unless the camera is an eye in the head of a poet. — © Orson Welles
A film is never really good unless the camera is an eye in the head of a poet.
I do photography and I studied film at school. So I've always really enjoyed that and I've got an eye for camera angles I guess. I've never taken that into filming wildlife.
The camera is not your eye, and it's not the eye of the audience. I don't think it's my eye, either. It belongs to the film.
I think that film is still an artform and it doesn't really matter if you're using a digital camera or a film camera.
The difference between an amateur and a professional photographer is that the amateur thinks the camera does the work. And they treat the camera with a certain amount of reverence. It is all about the kind of lens you choose, the kind of film stock you use… exactly the sort of perfection of the camera. Whereas, the professional the real professional – treats the camera with unutterable disdain. They pick up the camera and sling it aside. Because they know it’s the eye and the brain that count, not the mechanism that gets between them and the subject that counts.
Your camera is the best critic there is. Critics never see as much as the camera does. It is more perceptive than the human eye.
I do believe that a film like Ten could never have been made with a 35mm camera. The first part of the film lasts 17 minutes, and by the end of that part, the kid has totally forgotten the camera.
I got a unicorn horn on my head once. I said, "Can you really see that on camera?" My producer said, "You can see it from space." I would have to angle my head a certain way so that I didn't look misshapen on camera.
I never meant to be a full-time poet: I started out as a gardener, an ideal job for a poet because your head is left free.
My main camera is a Nikon D3. I use a French camera from the 1800s for wet plate photography, I use a Hasselblad sometimes. But to me the camera really doesn't matter that much. I don't have a preference for film or digital.
When I work, I really try to get absorbed in the character. Unless I want to do something playful with the camera, I'm not too worried about where the camera is or positions.
My younger daughter really loves makeup. She's quite good artistically. I could see her going into something possibly behind the camera - whether it's in film or still camera for editorial stuff - but she's very taken with makeup, and she's really quite talented for as young as she is.
My parents worked in the film industry, but they both worked behind the camera, so I like to think that I have a really good understanding of how all the parts of the puzzle come together to make a film or TV show.
The stigma that used to exist many years ago, that actors from film don't do television, seems to have disappeared. That camera doesn't know it's a TV camera... or even a streaming camera. It's just a camera.
I'd like to use IMAX. The problem with IMAX is that it's a very loud camera. It's a very unreliable camera. Only so much film can be in the camera. You can't really do intimate scenes with it.
The camera is not only an extension of the eye but of the brain. It can see sharper, farther, nearer, slower, faster than the eye. It can see by invisible light. It can see in the past, present, and future. Instead of using the camera only to reproduce objects, I wanted to use it to make what is invisible to the eye - visible.
I'm into capturing the moment. Sometimes, I'll rip the camera out of my assistant's hands and he'll be shouting, But there's no film in the camera! and I think, Never mind! Let's go.
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