A Quote by Brooke Hogan
I don't think a camera and a cameraman can destroy a family.
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I don't think I can break down any doors, but I'm thinking, "Maybe I can be a cameraman, because I love the cameras." And the cameraman would show me how to thread the film, how to repair it, the lenses. That's when you become, like, goony goo-goo about it. You breathe and eat camera, and all of a sudden, you don't want anything else in the world. You finally know, "This is my calling." When you're passionate about something, it doesn't become work. It's art and it's fun. It's arduous, it's sweaty.
Since a camera is something too heavy for women and initially made for men, you need a good cameraman.
Family life was and always will be the foundation of any civilization. Destroy the family and you destroy the country.
When I move from being a cameraman to being a director I looked at a lot of other cameramen who tried to make the move. And in each case they moved up their camera operator to be the DP, which really meant they didn't want to give up being the DP, and really wanted to do both. And my feeling was if I was going to succeed as a director, I had to just be a director and give up the safety net of being a cameraman.
I have to have a working knowledge of light, and optics, film emulsions and their properties, and lenses, otherwise I can't create the shoots that are the vocabulary of the films. But it is not necessary for me to be a cameraman, I can hire a cameraman.
Just because somebody happens to disagree with you about something doesn't mean that they become your mortal enemy and that you should try to destroy them and destroy their life and destroy their family.
Vernon Fenwick. He's a cameraman at Channel 6 - he's April O'Neil's cameraman - and Vernon is a character who is from the 'Turtle' mythology.
Satan's ultimate goal is to destroy the family, because if he would destroy the family, he will not just have won the battle; he will have won the war.
We were on a fairway shooting a scene in 'The Dogleg Murders' when I was asked by the cameraman if it was safe to film from where he was standing. I said, 'Yes, it'll be fine.' I then managed to slice the ball 90 degrees into the camera.
On 'Catfish,' I'm a co-host and onscreen cameraman, maybe the second onscreen cameraman after Wes Bentley's turn in 'American Beauty,' which is funny and ironic. But before that, I'd been doing a lot of creative nonfiction.
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.
The actors feel very free. The actor, he doesn't need to think about where the camera is, he just has to focus on what he's doing and forget the camera. The camera is never in the perfect position, and I think this is what keeps this feeling of reality. The frame is not perfect.
I don't remember the first picture I took, but I actually found a picture of myself on a trip back to my old family home in Malaysia. I'm five years old, sitting on the floor with the family camera in my hand. It was a film camera - not a DSLR - with a fixed lens and a nice manual zoom.
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.
In the old days, before there was such a thing as film schools, directors learned the camera by watching other directors, and learning from their own dailies, and listening to the cameraman, and seeing what would work. Some of those guys could cut their movies in their head.
There are things that happen so quickly. A better cameraman can capture them, but if the light is not bright and you hoist up your camera by the time you've dialed in your settings. There are eye blink moments where you're like "Aaahhhh, I wish," but those are too many to catalogue. Nothing really sticks out.
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