A Quote by Will Patton
In a way I feel completely frightened of dealing with other human beings at all, yet here I am sticking my face in front of a movie camera all the time.
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A person is a person through other persons. None of us comes into the world fully formed. We would not know how to think, or walk, or speak, or behave as human beings unless we learned it from other human beings. We need other human beings in order to be human. I am because other people are. A person is entitled to a stable community life, and the first of these communities is the family.
I have received the digital camera as a blessing. It has really changed my life as a filmmaker, because I don't use my camera anymore as a camera. I don't feel it as a camera. I feel it as a friend, as something that doesn't make an impression on people, that doesn't make them feel uncomfortable, and that is completely forgotten in my way of approaching life and people and film.
McLeod's Daughters was my first regular job out of drama school, and my first full-time role. That was great because I learned a lot, in terms of working in front of the camera. I learned a lot of technical aspects that you take for granted once you know them, but you have to learn them somewhere, along the way. It was a bit of a training ground for me, working in front of the camera and also dealing with media.
It's always the thing when you're shooting out and about with real people and you could get a couple of bogeys like sticking their face in front of the camera, like 'Hey!'
I feel like I don't see myself as all that different from other humans as a woman, but I'm surprised by how frequently I'm asked to see myself differently. So that's one kind of terror to have to face. Am I a unicorn? What's sticking out of my head that I'm not seeing? I'm simply female, and that puts me alongside all of my human counterparts.
'Scandal' has been, for me, the most consistent time I've ever logged in front of a camera. I grew up in the theater, and I feel very confident and comfortable on the stage and in front of a live audience, but the camera is a very different medium.
I am not dealing with footballers, I am dealing with people. They have fears and worry about failing and making fools of themselves in front of 80,000 people. I have to make them see that without each other they are nothing.
People treat serious subjects so seriously, which is so obvious a way of dealing with them. I'm always thinking that the best way of dealing with them is to show people as human beings.
The camera has a mind of its own--its own point of view. Then the human bearer of time stumbles into the camera's gaze--the camera's domain of pristine space hitherto untraversed is now contaminated by human temporality. Intrusion occurs, but the camera remains transfixed by its object. It doesn't care. The camera has no human fears.
I have been in public for a long time, so the camera was never an issue for me. I am very comfortable in front of a camera.
I don't think there's one right way to do anything. There's no one best way to be a woman. There's no best way to be a mentor. I'm just trying to be me and be authentic and live my truth and be as inclusive and interested in other human beings as possible. I'm an actor by training, which means that I study human beings and human behavior. That's what I try to do and what I love to do.
I'm comfortable in front of a camera, and I'm used to being watched, although that kind of bugged me at first. On the stage, though, I'm scared. I really get frightened in front of people.
This is going to sound crazy, especially in America where there is a total inflation of the word "love," but in a sense you have to love the people in front of the camera. There has to be trust between the one who is behind the camera and the people on the other side, so that they can relax. They have to feel they are safe, and that way they don't have to pretend just because they are scared.
I think I've spent more time in front of a camera than off camera. That's just the way it is.
Almost all human beings have the capacity for empathy. Everyone has the potential to be at least troubled, or feel genuine anguish, about the suffering of other human beings.
Whether you make an action blockbuster or a comedy or a drama, you've got the right camera and all the right technology to do it. In games, it's not the same yet, and I would like to see technologies dealing with cameras the way we do - dealing with bouquet, dealing with performance capture, with lighting - with all this stuff the way we do.
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