A Quote by Gerald Seymour
I'm not a journalist any more. I don't have to stick a microphone up somebody's nostril and I don't have a camera lens behind my shoulder, I think people talk to me in a much franker way.
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Dana White hides behind a microphone and behind a TV camera and spouts off and calls people names because he doesn't like their opinion.
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.
I'm a natural behind the camera... My attentions are more toward behind the scenes, more toward creating, producing, and directing what's going on here... When I finally do pop in front of the lens, I'm genuinely glad and relieved to be there.
I have a lot of appreciation for what people do in front of the camera as well as behind the camera. I don't think I could like one without the other. Eventually, I think the road will lead me down to producing or directing, because it's more about problem solving.
Everything about acting is a challenge. I'm self-conscious. You couldn't do anything to cause me to be more self-conscious than to stick a camera in my face and have 60 people standing behind it, waiting for me to perform.
I think people talk too much; that's the truth of the matter. I do. I don't believe in words. People use too many words and usually wrongly. I am sure that in the distant future people will talk much less and in a more essential way. If people talk a lot less, they will be happier. Don't ask me why.
Behind the camera, I was invisible. When I lifted it up to my eye it was like I crawled into the lens, losing myself there. and everything else fell away.
I'm used to being behind a camera. That's much more natural for me. But if my life can inspire people, that's what I have to do. My idea is to be of service.
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 fact that I have a little ten-megapixel camera with me all the time, is way better than having the greatest camera in the world sitting at home on a desk instead of on my shoulder.
I've hidden behind the camera my whole life because I much, much, much prefer shooting. Being behind the camera is my safe space, and it's my creative space, too.
It is good to be in front of the lens to appreciate more being behind the lens.
I take bits and pieces from every director. I'd say Sylvain [White] and Nimrod [Antal]. They were more about teaching me lens sizes and depth of field and how to move the camera and lighting. I do want to direct and I didn't go to film school, so having a director that are very much hands on that way and looking to let me learn, that is a key factor.
I think the 50mm lens is an extremely good discipline lens; it requires you to see in a more refined way, not just tighter.
I think at some point I am going to throw in the belt and decide to stick behind the camera.
I taught myself to use a camera - it's not very difficult to use a camera, but I never bothered looking at any textbooks on how to make a picture. I had a much more casual relation to it. For me at the time it was much more about the process rather than the results.
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