A Quote by Ellen von Unwerth

I don't stand behind the camera drooling. Knowing that, the models are more likely to open up and relax. — © Ellen von Unwerth
I don't stand behind the camera drooling. Knowing that, the models are more likely to open up and relax.
I relax more when I'm behind the camera than anything else. I love that.
I've discovered that being behind the camera is more fascinating. If I had to choose a profession today, it would have been something behind the camera.
Lesbians are likely to be drawn to stand-up, if only because it's cheaper to produce and therefore more accessible for women. But the very form of stand-up is masculine.
This is going to sound crazy, especially in America where there is a total inflation of the word "love," but in a sense you have to love the people in front of the camera. There has to be trust between the one who is behind the camera and the people on the other side, so that they can relax. They have to feel they are safe, and that way they don't have to pretend just because they are scared.
The power in Washington, D.C., is centered on the status quo - outdated systems, models, and programs built for a previous century. With more silicon and less concrete, we can open up those models to return power and independence to every man, woman, and child.
We have African-Americans and black people getting behind the scenes more and more, we get true black images in television and film...because we have black people behind them. They can tell stories from those points of view and bring to life those characters who have yet to be shown. As long as we have people behind the camera just as much as in front of the camera doing the work, then we'll always be good.
Capitalism saved the world, and there is even a heretical theory now, moving up from the level of individuals to countries: countries that trade more and have more open economies are less likely to fight wars and less likely to have genocides.
We need to have more conversations about representation as well as the imbalance in terms of needing more women behind the camera and in front of the camera, and the diversity factor.
I invented a camera that has an exposure time of one hundred years and the camera works in the simplest possible terms, because anything more complicated is more likely to break down in one way or another. It's a pinhole camera that lets in very low light and instead of exposing film, which is going to spoil within a matter of days or weeks, I'm using ordinary black paper.
I would like to see more films being made with people of color behind the camera and in front of the camera, because the more times at bat we have, the better we get.
That's really good for an actor - to like the people behind the scenes - because then you treat the camera differently. If you really like someone who's shooting you, you're more open. You're not defensive, you're more relaxed, and I think that translates into a more interesting, natural performance.
I want to be the person who eventually doesn't have to be in front of the camera. I can be behind the camera and really change things cinematically, and this is giving me an opportunity to do something behind the camera, which I really want to maximize.
When a man wants to relax, he will slob out and really relax. Or he will pursue a hobby - anything from building models to watching sport.
Having done stand-up on television and in stand-up specials for like Comedy Central, you learn quickly that for that type of performance you're playing to the camera.
I do think that metaphysical exploration is like scientific exploration, in the sense that philosophers and scientists are both developing models of reality, and furthermore that we all rely to a significant extent on the idea that models which provide elegant, simple and satisfying explanations are more likely to be true.
The camera’s not a camera, really. It’s an open door we need to walk through. It’s up to us to keep moving our feet.
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