A Quote by Donna Lynne Champlin

Logistically, working on a television show and hitting your mark and leaning to your right and knowing where the camera is - I literally felt like I was on another planet.
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.
It would be great to do another television show that was a multi-camera because the hours are so wonderful and you can be a good mom at the same time. The problem is, there aren't a lot of multi-camera shows that I personally like. My aesthetic is more geared toward single-camera shows.
First and foremost, my hats off to our directors and camera department. That is something I will miss after Longmire. I can't imagine working on another show that looks like this. We'll get the whole crew out on location and have a hundred people standing around, waiting for about 40 minutes, so that sun is just a little bit further in the sky and the light is hitting the cloud, in the perfect way.
The thing about hitting kids is, think about if you were doing the same thing to another adult. Hitting your kid is really the same as hitting your employee or wife, and the issue become pretty clear when you think about it that way.
I used to joke I was a point-and-click actor. My whole process has been about trusting your instincts and hitting your mark.
You put your camera around your neck along with putting on your shoes, and there it is, an appendage of the body that shares your life with you. The camera is an instrument that teaches people how to see without a camera.
In television, there's this weird sense of isolation from your audience; you kind of get this feeling that you write the show for you and your wife and your friends and the other people who work on the show. It's our little show, and then it goes out into the world, and somebody watches it.
Proactive giving is what you do when you've found your passion. It expresses your values, interests and concerns. It engages not just your dollars, but also your mind, time, skills and networks - the philanthropic equivalent of leaning in, rather than leaning back. Most importantly, proactive giving is something you want to do.
If your working television sits on top of your non-working television, you might be a redneck.
That time of day when the sun hasn’t come up yet, but you can already feel it coming. It’s an elusive warmth, like a subtle promise whispered in your ear and you can go on with your day knowing you’ve been given another chance to get it right.
Working on camera, your face is your career. But I'm not really one to buy into the pressures. At the end of the day, the job I do, it's more about the art and craft of it. If you're good at what you do, there's a place for you in the industry, no matter what you or your skin look like.
Television is such an evolving medium. When you're doing a TV show, it's not like you just shoot for six weeks and you're in an editing room with all of your footage. It's like a guitar or a car, you have to fine tune things. You stop doing what's not working, you work on what is working and you add things that do work.
I don't watch much television. My old TV agent used to always get mad at me because he'd send me out on auditions and I'd be like, 'What's this show?' and he'd be like, 'It's literally the top show on television.' I wasn't allowed to watch TV as a kid.
Working on camera is a different ballgame in the sense that it's far more intimate work, but the basics and the foundations of being able to create something that isn't necessarily your own instincts - is a character that you have inside your head - whether you're talking about television or film or theater, that still has to be the grounding work.
People were murdered for the camera; and some photographers and a television camera crew departed without taking a picture in the hope that in the absence of cameramen acts might not be committed. Others felt that the mob was beyond appeal to mercy. They stayed and won Pulitzer Prizes. Were they right?
You've not felt the pain of rejection until a television show based on your own life is canceled.
This site uses cookies to ensure you get the best experience. More info...
Got it!