A Quote by Joe McNally
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.
Related Quotes
The simple act of having a camera, not a cell phone, but a camera-camera, there’s a kind of a heightened perceptional awareness that occurs. Like, I could walk from here to the highway in two minutes, but if I had a camera, that walk could take me two hours.
In the grand spectrum of things in WWE, you are wrestling for that camera and that camera and that camera - and all the cameras they have - and you have to make things work that way because, through that camera, there's a million people watching.
Technology has grown so much that there's a whole idea of gluttony. Sometimes you get carried away because you can have a camera go through the window, but do I need a camera go through the window? Those choices are up to the director.
We need women behind the camera like we do in front of the camera. That's when we will have stronger, smarter, better roles for us.
If I'm traveling, I'll take a film camera and a digital camera because sometimes there are moments where, if you've lost it, or if coming back and it accidentally goes through the X-ray machine and it gets overexposed, you might have had a really important moment to you and you would be really upset that you didn't have a back-up.
Look, I really do not care about you. What I care about is the worlds that you bear witness to. You are nothing more than a dog with a video camera strapped on its back. As you walk the streets looking for a place to mate or piss or eat, the camera is on and we will see the world because of you... You carry the camera and we enjoy the world. (On images as autobiography)
I never do anything for the camera. It's my job to pretend the camera's not there. I'm never moving for the camera.
The stigma that used to exist many years ago, that actors from film don't do television, seems to have disappeared. That camera doesn't know it's a TV camera... or even a streaming camera. It's just a camera.
It doesn't do any good to hold the door open for someone if they don't have a way to walk through it. And if they do have a way to pass through it then you probably don't need to hold it open because they can open it for themselves.
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.
The camera has a mind of its own--its own point of view. Then the human bearer of time stumbles into the camera's gaze--the camera's domain of pristine space hitherto untraversed is now contaminated by human temporality. Intrusion occurs, but the camera remains transfixed by its object. It doesn't care. The camera has no human fears.
So the thing that's beautiful about the Rolleiflex is that I open the camera up from the top and put my face in and that the camera's all about composition and all about light.
Religious freedom opens a door for Americans that is closed to too many others around the world. But whether we walk through that door, and what we do with our lives after we do, is up to us.
When I walk with a camera, I walk from shot to shot, reading the light on a calibrated meter. When I walk without a camera, my own shutter opens, and the moment's light prints on my own silver gut. When I see this second way I am above all an unscrupulous observer.
I'm very heavily involved in the editorial post-production process, and the camera - it's just such a big part of my storytelling language. I like creating the tension; I like creating the emotion through the movement of my camera, or the lack of movement through my camera, depending on what fits the scene best.
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.
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