A Quote by Debra Winger
I have a thing with the camera. The lens is unconditional. It doesn't judge you.
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In everything I do, the aesthetics are driven by the emotion. However I can do that with a camera, whether it's a long lens or a wide lens, I'll do.
Memory is a tenuous thing, like a rainbow's end or a camera with a failing lens.
I know of few actresses who have this incredible talent for communicating with a camera lens. She would try to seduce a camera as if it were a human being.
You carry that through and adapt it to a camera lens, but you're quite right, you cannot be sure of what an audience is going to do. You don't know what's going to happen to the piece you're doing anyway. You don't know how it's going to be edited. There are a lot more unknowns in cinema. But that you have to readily accept. That's when, I think, you have to forget about intellect, to a degree. Intuition is very important when you're working with a lens, I believe, for what the lens is doing, too.
The difference between an amateur and a professional photographer is that the amateur thinks the camera does the work. And they treat the camera with a certain amount of reverence. It is all about the kind of lens you choose, the kind of film stock you use… exactly the sort of perfection of the camera. Whereas, the professional the real professional – treats the camera with unutterable disdain. They pick up the camera and sling it aside. Because they know it’s the eye and the brain that count, not the mechanism that gets between them and the subject that counts.
Looking through the camera lens reduces noise; as humans we see a million shapes, colours and textures. What the lens does, what art does in general, is get rid of all the noise. It hones in and isolates the qualities of a scene.
When a regular camera focuses physically, what the regular camera is doing is adjusting the lens relative to the sensor to bring different parts of the scene into focus.
Shame works like the zoom lens on a camera. When we are feeling shame, the camera is zoomed in tight and all we see is our flawed selves, alone and struggling.(page 68)
When I began to photograph nudes, I let myself be guided by this camera, and instead of photographing what I saw, I photographed what the camera was seeing. I interfered very little, and the lens produced anatomical images and shapes which my eyes had never observed.
Forget the camera, forget the lens, forget all of that. With any four-dollar camera, you can capture the best picture.
In drama, you're interacting with other actors to tell the story. The camera is like the theater: it's the artistic fourth wall. In a screen play, you don't look at the camera and communicate with it. But with hosting, you're looking right into the lens and talking to the people. It is a different style, and it's fascinating.
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.
This uses a lens system, which I have used for years in various different ways, but I've never used it in the context of an interview. This is the very first time that I've done that. It's a lens called The Revolution, so it allowed me to interview Elsa [Dorfman] and actually operate the camera. Well one of the cameras, because there were four cameras there.
If life were a camera, I'd have the lens cap on.
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 camera lens or the television camera is still just a proscenium arch. And as a great old character actor once said to me, wherever you're acting, you reach up and take hold of the proscenium arch, and you pull it down around your shoulders.
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