A Quote by James Jannard

I have a Bolex, Aaton, Arriflex, Eyemo, Filmo, Mitchell, Photosonic, Beaulieu, Keystone - just about every movie camera you can think of. — © James Jannard
I have a Bolex, Aaton, Arriflex, Eyemo, Filmo, Mitchell, Photosonic, Beaulieu, Keystone - just about every movie camera you can think of.
I was lucky enough to go to an all-boys prep school in upstate New York that had a film program, so we had access to 16mm Bolex cameras, Nagra sound recorders, Arriflex cameras. We even had an Oxberry animation stand!
Of course, you can never watch something like somebody else watches something like you, but nonetheless, you have to try. So I think on camera you learn a lot about how much the camera does for you, which is what is the great luxury of movie acting. Or acting whether it's TV or movies or whatever it is, that the camera's really such a gift because there's so much that it sees and does if you're willing to just be open and expose yourself and all of that. So you also learn what doesn't matter. And sometimes when you think about things, you think things matter that don't matter.
To be honest, everyone thinks that a digital camera is more reliable and every single time I work on any movie, it's just as many problems, the memory card doesn't work or blah blah blah, it overheats; it's the same volume as another camera. I think people are bit taken in by it.
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.
I can go back to my very first movie, Thirteen, and think about that exact moment when I saw Nikki Reed and Evan Rachel Wood do their chemistry read audition together. It just came alive. I was filming it with a video camera and I was like, "I know I can make a good movie now."
Yes, I got my first Bolex camera a few weeks after being dropped in New York by the United Nations Refugee Organization. That was on October 29th, 1949. With my brother Adolfas, we wanted to make a film about displaced persons, how one feels being uprooted from one's home.
With film acting, and often when the camera comes very close, you just have to think about something and the camera will pick it up.
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.
I work primarily for the camera-it's not something I really talk about a lot, but it's part of the way I am as a movie actor. The camera is my girl, as it were.
Filmmaking isn’t if you can just strap on a camera onto an actor, and steadicam, and point it at their face, and follow them through the movie, that is not what moviemaking is, that is not what it’s about. It’s not just about getting a performance. It’s also about the psychology of the cinematic moment, and the psychology of the presentation of that, of that window.
I did not read Gone with the Wind, although I've seen the movie, and I read every book on Margaret Mitchell.
You don't want to be the guy whose back's to the camera in the emotional part of the movie. So, you have to be aware of the camera movement and what the camera's doing.
I would still encourage somebody, if they wanted to make a movie, to just go take a movie camera. That's clearly been shown to work. It's just how do you get it seen?
The equation I share with the camera doesn't change whether you place a camera in front of me or a live audience. Just the pay cheques differ. But that doesn't matter to me because I've so much money, I don't even think about it. It's just lying there.
the movie is not a thing which is taken by the camera; the movie is the reality of the movie moving from reality to the camera.
I think about it all the time. I love filmmaking. Whether I'd be in front of the camera or behind the camera, I just love that world.
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