A Quote by Anna Diop
There's nothing like being shot on camera.
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A camera is a camera, a shot is a shot, how you tell the story is the main thing.
whether they'll write the story of my life as a tragedy or an epic fantasy... I was wondering if it was going to be a kiss at the end, or sad music and a sweeping camera shot over the fields I once roamed freely. I'm hoping for the kiss, but expecting the sweeping camera shot.
That shot in "Into the Inferno" somehow popped up while my editor and I were viewing the footage. I immediately said, "That looks like the opening shot because the camera approaches the action very slowly and we have enough time to insert some of the main credits into it." So it was a practical choice. At the same time, you see these tiny figures standing at the rim of something, and all of a sudden, the camera rises further and you find yourself looking straight down into an inferno.
I don't get tripped up in technology. I use technology as a tool. 'Oldboy' we shot Two Pro 35mm. For 'Da Blood of Jesus,' we shot digitally. We shot the new Sony F55. It's a 4K camera.
When I walk with a camera, I walk from shot to shot, reading the light on a calibrated meter. When I walk without a camera, my own shutter opens, and the moment's light prints on my own silver gut. When I see this second way I am above all an unscrupulous observer.
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.
Where we shot in India, you could literally dump the camera off the back of the truck and you'd have an amazing shot.
For me, being a complete artist means not necessarily just being in front of the camera, but being behind the camera or being the originator or creator of something.
I think where I've instinctively found myself is that I am somewhat guarded in my public life. Being interviewed or being photographed or just in public attention, I have a certain reserve. But when I'm working I feel like I'm very open. At least I like to believe that I feel like nothing is held back when I'm in front of a camera. That's my job.
I never know which camera is on me when I'm dancing and the director picks the shot he likes but it usually isn't the best shot for showing the steps I want the audience to see.
After directing the first film it feels kind of tricky being back to being in front of the camera, because I've always got one eye over there, kind of thinking of what they are doing, and how the shot is being composed. I think it takes a couple of films to just get back to just being an actor.
Jack [Nicholson] really knows about the camera. He's one of the directors who likes to play with the camera. He'll change things around, play with lighting, things like that. He'll even spend hours on the set-up for an insert shot. He's an interested person who gets involved in all the aspects of the films he is making.
It helps so much being on location. It's like the difference between performing for the rectangle of the camera versus a world being created and then the camera finds things within that. There's a huge difference in that, because what it takes away is performance. You don't feel like performing. You're just kind of doing it. You're existing.
Being behind the camera you have control; you have the ability to make decisions for characters, for where the story line's going to go, how you want to put it out there, how you want to edit it. Acting is like where you paint on the canvas, and being behind the camera is like being either the paint or the paintbrush. They're both a part of the creative process, it's just that they have two different functions.
Basically, with a regular camera, you have to take time or allow the camera to focus before you take the shot.
So in terms of a large part of the job on our show specifically, what makes the show complex and interesting and funnier are the conversations about "Where's the camera?" and "How aware are the characters of the camera? Are the cameras hidden for this shot? Is it a spy shot from far away? Or is it really close and in their face, and they sort of have to play to it in an embarrassing situation?" There's a whole other level of questions and choices that come into play on our show that are not even a factor in anything else.
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