A Quote by Gia Coppola

I like the camera to be still and not very shaky and have everything happen within the frame. — © Gia Coppola
I like the camera to be still and not very shaky and have everything happen within the frame.
I like pointing the camera at the actors and letting them fight. Don't let the camera do the fighting for you, and don't let the camera give them the adrenaline hit. Let the people in the frame do that.
The actors feel very free. The actor, he doesn't need to think about where the camera is, he just has to focus on what he's doing and forget the camera. The camera is never in the perfect position, and I think this is what keeps this feeling of reality. The frame is not perfect.
Call me Shaky, not Michael. I've been Shaky for so long it would be like calling Muddy Waters McKinley, wouldn't it?
Pictures could not be accessories to the story -- evidence -- they had to contain the story within the frame; the best picture contained a whole war within one frame.
The craft, the writing of a song, is about creating a story, a life story, a world within three minutes, but that's the frame, if you like, the picture frame. That fascinates me.
I love the camera; there's something very special and sensual about it, and I have a tendency to call it a he, like it was a man. But, unlike a man, a camera is accepting of everything I do.
I always try to create equal power between the subject and the object, so as not to end up creating a relationship where the camera is here and the object out there. This is for me a very difficult and sensitive balance. When I produce a work, cut and frame images, I realize that spectators can identify with the images and almost forget that someone else actually made them. This would be the optimal situation. I don't know whether I succeed in doing so, but that's what I would like to have happen.
I'd like to use IMAX. The problem with IMAX is that it's a very loud camera. It's a very unreliable camera. Only so much film can be in the camera. You can't really do intimate scenes with it.
I could get my camera and point it at two people and not point it at the homeless third person to the right of the frame, or not include the murder that's going on to the left of the frame.
It's something that I've always been attracted to, that idea of letting everything happen in a single frame.
I'm a model, and I happen to model for curvy things, but at the end of the day, I'm still in front of a camera just like anyone else.
On the global scale, if there's a shaky Middle East, there's a shaky world.
I look very different on camera compared with how I do in real life. On camera, I look my best when everything is enhanced, especially my eyes - I like a smoky eye. In real life, I like myself best in tinted moisturiser, lip balm and mascara.
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 don't like working by a monitor. I stand right next to the camera, and I'm very performance-oriented. That really means everything to me, whether it's doing an improv of a joke or an emotional scene, and everything in between.
'Happy girls are the prettiest,' and to be in the camera frame makes me happy. I just want myself to keep working. I can be in front of the camera for 48 hours continuously without any breaks.
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