A Quote by John Cassavetes

The camera is the slave to the actor. — © John Cassavetes
The camera is the slave to the actor.
Being an actor in TV or movies is different. A film or TV actor, if put in theatre, won't know certain dimensions, while a theatre actor won't know certain things when he comes before the camera. So I think a film actor can learn emoting from this theatre counterpart, while the theatre actor can learn about camera techniques from the film actor.
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.
It's not just the actor in front of the camera. And it's important to have respect for all those people that work behind the camera.
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.
In motion pictures, the actor rules. The camera served the actor.
There's a subtleness to camera work. You can really create intimate moments on camera and sometimes that requires a little more precision from an actor, because you have to pull people in as opposed to throwing it to them.
There's a subtleness to camera work. You can really create intimate moments on camera, and sometimes that requires a little more precision from an actor because you have to pull people in as opposed to throwing it to them.
The delineation between the actor and his part is a practical matter. When the camera runs, you want the actor to be the character.
I've always said the one advantage an actor has of converting to a director is that he's been in front of the camera. He doesn't have to get in front of the camera again, subliminally or otherwise.
The terrible tragedy for every director is to watch an actor do what you want and not have the camera rolling - and never get it back again. So I always try to roll the camera before anybody's really ready.
I'm a narrative-minded actor. I'm thinking of the story. I'm not worried about whether the camera is on the right side of my face, or where the camera is. I'm just going for the story.
Hindustan had become free. Pakistan had become independent soon after its inception but man was still slave in both these countries -- slave of prejudice … slave of religious fanaticism … slave of barbarity and inhumanity.
The good man, though a slave, is free; the wicked, though he reigns, is a slave, and not the slave of a single man, but- what is worse - the slave of as many masters as he has vices.
Quing-Jao: I am a slave to the gods, and I rejoice in it. Jane: A slave who rejoices is a slave indeed.
A slave-holder cannot hold a slave without putting himself or his deputy in the cage for holding the slave.
And as an actor, just working with someone as seasoned and professional and kind as Richard Jenkins, it's always a learning experience watching him - on camera and off camera, just soaking it all up.
This site uses cookies to ensure you get the best experience. More info...
Got it!