A Quote by Jesse Watters
I think there are two different types of people in television. There are people who can turn it on like a switch when the cameras go on, and then, when the cameras go off, they kind of lower it down a little bit. And then there are people who are on all the time, no matter if the cameras are there or not.
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Every time my cameras go out on a movie, we learn something new and then we take what we learn and we put it into the next generation of the cameras so we're constantly improving. It's kind of like building a race car, racing it, then running back to the shop and working on the engine some more and tinkering with it to improve it.
The way social media is now, and people are with cameras - we all live different lives whether you're in the spotlight or not. I mean, you can't be a boss or an executive of a big time company and act a fool, because there are cameras everywhere and people are going to document it and take pictures. I'm not used to stuff like that.
At the beginning, people laughed at me because I was using snappies. Sometimes, a celebrity would look at my camera and go, Oh, I've got one of those. I'd feel like handing it to them and saying, Well, you take the pictures then. But I like using snapshot cameras because they're idiot-proof. I have bad eyesight, and I'm no good at focusing big cameras.
From analog film cameras to digital cameras to iPhone cameras, it has become progressively easier to take and store photographs. Today, we don't even think twice about snapping a shot.
One thing that is very different technically is that you don't get a lot of coverage in television. Not like you do on a film. I know we don't have time for separate set-ups, so I will design a scene where I'm hiding multiple cameras within that set-up. That way, if I don't have time to do five set-ups, I can do four cameras in one set-up. It's a different kind of approach for that. For the most part, a lot of television, in a visual sense, lacks time for the atmosphere and putting you in a place.
I've been doing photography in one form or another for, oh golly, over seventy years. I don't carry cameras. I used to. For many years I carried cameras wherever I went. Photograph whatever I saw that was of interest. In the last years, I've only used cameras to explore thematic ideas which presented themselves first. And then bring out the cameras to try to explore that idea.
I think that that's something that's pretty interesting about a GoPro - it's the one camera that we know of that you can combine with like cameras to form new cameras. So it's a bit of a modular system.
But slowly I began to use cameras and then think about what it was that was going on. It took me a long time, I mean I actually played with cameras and photography for about 20 years.
You can take 100 penalties in training, but when you go out on that pitch in front of all those people and the television cameras, it's completely different.
For a period of time, I carried cameras with me wherever I went, and then I realized that my interest in photography was turning toward the conceptual. So I wasn't carrying around cameras shooting stuff, I was developing concepts about what I wanted to shoot. And then I'd get the camera angle and do the job.
For a period of time, I carried cameras with me wherever I went, and then I realized that my interest in photography was turning toward the conceptual. So I wasn't carrying around cameras shooting stuff, I was developing concepts about what I wanted to shoot. And then I'd get the camera angle and do the job
Everybody has their iPhone cameras, BlackBerry cameras, and I see those cameras pointed up at me all the time now, which is actually really good because of what it does for me and my band. There is no time for us not to be on our toes because they're on all the time whenever you're playing. I think it's very healthy.
I have a master's degree in photography as a fine art, and I would call my work primarily conceptual. I don't carry cameras with me wherever I go. I get an idea of a subject matter I want to deal with and I pull out my cameras.
I do think we need more cameras. We have to stay ahead of the terrorists, and I do know in New York, the Lower Manhattan Security Initiative, which is based on cameras, the outstanding work that results from that.
The fans are bad everywhere you go, with language, and with behavior. You can't put enough cops in the stands, but you ought to give the cops cameras, give people cameras, so they can take a picture of the idiot and you can identify him.
[Marla, Shar and I] all have had very public breakups, so I think people know they can relate with us in one way or another. And this is one of the few reality shows where they didn't have the cameras right in people's faces. Like when we were sitting around the table talking with the divorced people, the cameras were way back. And we just listened. Sometimes people just need an ear.
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