A Quote by David Brinkley
Being an anchor is not just a matter of sitting in front of a camera and looking pretty.
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A lot of athletes have star quality, but they just can't perform in front of a camera. So no matter how good-looking you are, no matter what kind of presence you have, you still have to be able to be a convincing performer to become a star.
I'm always going to hear people make that connection and I've just accepted it. It's alright. I'm just happy that I get to do my own thing now. I learned a lot from the show [the Voice] as far as being in the TV world and being in front of the camera, which is really great because I'm not as nervous in front of the camera as I was before.
Sitting at the table during Color Purple and looking up and suddenly realizing I was acting in front of Steven Spielberg, was pretty cool. It was pretty good.
For me, being a complete artist means not necessarily just being in front of the camera, but being behind the camera or being the originator or creator of something.
There will be a time very shortly that I just might not be in front of the camera at all, and I might just be behind the scenes. I love doing television, though. I don't necessarily love being in front of the camera.
I just enjoy what I do - looking forward to going on a film set, being in front of the camera, interacting with many people. I'm fortunate to be living my dream.
There's always been a shortage of roles for three-dimensional women, no matter what age. If you look at the statistics on women in film, be they behind the camera or in front of the camera, and it's pretty nauseous-making. It always has been.
Being on set in front of the camera, it makes me happy and extremely grateful whenever I'm in front of the camera.
The equation I share with the camera doesn't change whether you place a camera in front of me or a live audience. Just the pay cheques differ. But that doesn't matter to me because I've so much money, I don't even think about it. It's just lying there.
'Hollyoaks' is where I learnt a lot of the craft, being in front of a camera six days a week. That's certainly an experience you don't get in drama school. It invites you to be comfortable in front of the camera.
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 'Changeling,' I tried to show something you'd never see nowadays - a kid sitting and looking at the radio. Just sitting in front of the radio and listening. Your mind does the rest.
It doesn't matter if they're in front of the camera or behind the camera. I know women who are producers who are surviving on nothing but juice and almonds.
I have a tendency to trail off in conversations. I don't look up at people sometimes when I talk or cook, and those are all pretty bad no-no's being in front of the camera.
To have an opportunity to get in front of a camera every single day is just priceless because it gets you closer and closer to being less self-consciousness in front of it and really being human and really making choices and standing by them.
What I love is a good role. In the theatre, there is just a canon of extraordinary roles, the quality of character is amazing, but I also love working in front of a camera. It was the first one for me; as a kid I was in front of a camera. I feel at home.
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