A Quote by D. A. Pennebaker
Before the camera, you only had secondhand takes - someone had to tell you what they saw or draw a picture of it or sing a song. Because of the camera, sometimes to our horror, we now know everything that happens in the world - things that before we were sheltered from.
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I saw that everything really was written there before me, and that the doors had only been closed before because I hadn't realized that I was the one person in the world with the authority to open them.
Everywhere we walked we got plenty of attention due to the camera and sound men. The locals love to get on camera. [...] I'd seen footage of Gandhi surrounded like this and always thought it was because he was very popular, but now I wonder if it was just because he had a camera crew with him.
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.
Of course, the camera is a far more objective and trustworthy witness than a human being. We know that a Brueghel or Goya or James Ensor can have visions or hallucinations, but it is generally admitted that a camera can photograph only what is actually there, standing in the real world before its lens.
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.
You see what you understand, You have to be prepared to see the world. The moment of clicking the camera is almost irrelevant. What is really important is what happens before and after you take the picture.
I've always had two principles throughout all my life in motion-pictures: never do before the camera what you would not do at home and never do at home what you would not do before the camera.
I saw that my camera gave me a sense of connection with others that I never had before. It allowed me to enter lives, satisfying a curiosity that was always there but that was never explored before.
There were days when you peered into yourself, into the secret places of your heart, and what you saw there made you faint with horror. And then, next day, you didn't know what to make of it,you couldn't interpret the horror you had glimpsed the day before. Yes, you know what evil costs.
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.
'Olive Kitteridge' is the only thing that I've done on camera where we had a day of rehearsal before we shot, and I'm so glad that that happened, because I was so nervous.
Early on, someone had told me, 'You know, the camera can always tell when you're lying.' And, Jesus, that intimidated me. 'The camera can always tell? How am I going to do this?' Until one day I thought, 'Wait a minute, acting is lying. Acting is all about lying.'
I had to learn a lot on 'Victorious' because I had never done multi-camera before. It's like music: You need to be on it, and there's no room for subtleties.
Growing up in the 80's, I think a lot of us saw things that were "new," an experience we don't get too much of these days. We saw things that were never done before. When Star Wars first came out, no movie before that had ever looked that way.
I put down the camera long ago, you know? I was here in London, aged 19, and I was obsessed with my camera, shooting everything I could. Then someone stole it. It helped me to see things for the first time.
Sometimes people don't rehearse at all, but you might have had a chance to rehearse for a few days, or even more than that. Then in the moment when the camera's running is the only time it matters. So whatever you've discussed or thought about or discussed with the director, the other actors, hopefully there's a part of the experience that you've left open so that only in that moment the camera catches it. That's of course the hardest thing to do because everything is planned and you have thought about it in advance.
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