A Quote by Clint Eastwood
I'd been trying to retire to the back of the camera for quite a few years. And then, in 1970, when I first started directing, I if I could pull this off, I can some day just move in back of the camera and stay there.
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I have been trying to retire to the back of the camera for quite a few years, and in 1970, when I first started directing, I said, 'If I could pull this off, I can some day move to the back of the camera and stay there.'
My first pictures are from 1972, and my first proper camera dates back to 1973. During the first year I used my father's camera. It had a flash on it, which I don't like, but I didn't know anything about photography back then, so it was just what I did.
I'd already started directing short films when we were doing 'Lord of the Rings,' then videogame projects. So Peter's known that I've been heading towards directing for a long time. But I always thought my first outing would be a couple of people and a digital camera in the back streets of London somewhere!
Just having the camera, being able to pull back from situations and be an observer, it saved my life... I realised I could find these intimate moments and that people trusted me. That, basically, my camera was magic.
Back in the day, I actually studied photography in Florence for a few months, and my photography teacher took away my digital camera and said, 'No, use this - it's analog and it's square.' It was a Holga camera, a very cheap $3 or $4 plastic camera. And that's what inspired 'Instagram'.
The camera is one of the most frightening of modern weapons, particularly to people who have been in warfare, who have been bombed and shelled for at the back of a bombing run is invariably a photograph. In the back of ruined towns, and cities, and factories, there is aerial mapping, or spy mapping, usually with a camera. Therefore the camera is a feared instrument, and a man with a camera is suspected and watched wherever he goes... In the minds of most people today the camera is the forerunner of destruction, and it is suspected, and rightly so.
When I was 19, I picked up an old, tiny, automatic Yashica camera and I just started shooting. We didn't have iPhones back then, we didn't even have cell phones. I loved having a camera in my hand.
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.
I had done some stuff on camera, then I did some film dubbing when I lived in Europe. When I came back, I'd considered doing on-camera work again, but I didn't really like it.
I made a big mistake with him the first day I shot. We're shooting the scene where I come back from the party, the dance, in the sleigh with Julie Christie and we turn the corner and go past the camera and the camera follows us just a little bit and we disappear.
I tend to want to go quite big in my acting, which you just cannot do in front of a camera. It's taken me a while to learn how to pull it back.
I've been to Africa many times in the past 20 years, but I can't believe this is the first time since the very first Red Nose Day, that I've been back to Ethiopia. The last time I was here was just after the famine and it was crazy, there were people all over the place, kids without families, aid workers, camera crews.
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 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.
You don't want to be the guy whose back's to the camera in the emotional part of the movie. So, you have to be aware of the camera movement and what the camera's doing.
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.
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