A Quote by Candy Crowley

I mean, if a camera's on you all the time, you don't get real moments. — © Candy Crowley
I mean, if a camera's on you all the time, you don't get real moments.
Film, television, and working with a camera is such an intimate art form that if a camera is right on you, and I've got your face filling the screen, you have to be real. If you do anything that is fake, you're not going to get away with it, because the camera is right there, and the story is being told in a very real way.
I have been around for more than 30 years and it has been quite a journey. It had its glorious moments on camera and painful moments off camera.
It is often said that we are just a moment in time! In that case, here is the best challenge for man: To change this! To be two moments in time; three moments in time; four moments in time; to be in the whole of the time!
Creative burnout and physical burnout is real. I mean, there are moments when I get home - after overseeing, you know, almost 16 collections a year - where I can't move.
This is how you can tell a real photographer: mostly, a real photographer does not say 'I wish I had my camera on me right now'. Instead a real photographer pulls out her camera and takes the photograph.
If you push in every time there's a big moment, then the tenth time you push in, you're not going to get the same effect. Or if you have too many close ups, then when you have a big moment and you want a close-up in order to make a point, it doesn't mean anything because you've already been doing close-ups. It's like writing in all capitals. Then after a while that doesn't mean anything. So, just because you can do something with a camera doesn't mean you should.
There are moments that I`ve had some real brilliance, you know. But I think they are moments. And sometimes, in a career, moments are enough.
I just think people have a lot of fiction. But, you know, I mean, the real story of Facebook is just that we've worked so hard for all this time. I mean, the real story is actually probably pretty boring, right? I mean, we just sat at our computers for six years and coded.
I've seen people 'turn up' for the camera, thinking that this is the best way to maximize their platform and get more camera time. This formula works, but it's shortsighted.
There's a subtleness to camera work. You can really create intimate moments on camera, and sometimes that requires a little more precision from an actor because you have to pull people in as opposed to throwing it to them.
There's a subtleness to camera work. You can really create intimate moments on camera and sometimes that requires a little more precision from an actor, because you have to pull people in as opposed to throwing it to them.
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 am a hopeless romantic. A silly, ridiculous, foolish romantic. I live in a fantasy land. I need to get real. And now, for the first time, I want to get real. I want a real relationship with a real man in the real world–-with all the real problems, faults, and whatever comes with it.
What I try to do - I mean 'try,' because you don't get there all the time - is to have impact with content. It's those moments in which you're trying to bring people beyond filmed theater. If I have an ambition, it's that.
Neorealism taught us to follow the characters with the camera, allowing each shot its own real interior time. Well, I became tired of all this; I could no longer stand real time. In order to function, a shot must show only what is useful.
Gene Mean. He come to my wedding. He always make the Sheikie Baby look No. 1 on the promo. He know the camera zoom... it make the legend the real. Forever nobody better than the Gene Mean. I love him forever.
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