A Quote by Corey Reynolds

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.
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.
In the grand spectrum of things in WWE, you are wrestling for that camera and that camera and that camera - and all the cameras they have - and you have to make things work that way because, through that camera, there's a million people watching.
If I'm traveling, I'll take a film camera and a digital camera because sometimes there are moments where, if you've lost it, or if coming back and it accidentally goes through the X-ray machine and it gets overexposed, you might have had a really important moment to you and you would be really upset that you didn't have a back-up.
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.
The majority of my background is multi-camera format, which is very broad and a very arch perception of reality. Whereas single camera tends to be more truthful and a little more intimate of a medium.
It's very true that non-actors feel more comfortable in front of a digital camera, without the lights and the large crowd around them, and we arrive at much more intimate moments with them.
I'd like to use IMAX. The problem with IMAX is that it's a very loud camera. It's a very unreliable camera. Only so much film can be in the camera. You can't really do intimate scenes with it.
It's not just the actor in front of the camera. And it's important to have respect for all those people that work behind the camera.
I work primarily for the camera-it's not something I really talk about a lot, but it's part of the way I am as a movie actor. The camera is my girl, as it were.
I found that the camera was a comforting companion. It opened up new worlds, and gave me access to people's most intimate moments. I discovered the privilege of seeing life in all its complexity, the thrill of learning something new every day. When I was behind a camera, it was the only place in the world I wanted to be.
Sometimes a camera comes out and people freeze up a little, and I'm like that with normal cameras, but with a film camera, I feel different.
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.
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.
Painting requires skill. Photography is created by the camera, and one cannot fully control what the camera sees. So people take many photographs because several must always be discarded.
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.
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