A Quote by John Filo
When I put the camera back to my eye, I noticed a particular guardsman pointing at me. I said, "I'll get a picture of this," and his rifle went off. And almost simultaneously, as his rifle went off, a halo of dust came off a sculpture next to me, and the bullet lodged in a tree. I dropped my camera in the realization that it was live ammunition. I don't know what gave me the combination of innocence and stupidity... but I never took cover.
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One time a guy handed me a picture. He said, 'Here's a picture of me when I was younger.' Every picture is of you when you were younger. 'Here's a picture of me when I'm older.' 'You son of bit, how'd you pull that off Let me see that camera. What's it look like'
A story: A man fires a rifle for many years, and he goes to war. And afterward he turns the rifle in at the armory, and he believes he’s finished with the rifle. But no matter what else he might do with his hands, love a woman, build a house, change his son’s diaper; his hands remember the rifle.
I am graven on the palms of His hands. I am never out of His mind. All my knowledge of Him depends on His sustained initiative in knowing me. I know Him, because He first knew me, and continues to know me. He knows me as a friend, One who loves me; and there is no moment when His eye is off me, or His attention distracted for me, and no moment, therefore, when His care falters.
What you think is fake in your head comes off as not enough on camera, a lot of times. You almost have to overdo it, in this overly, sort of Broadway, large-gestures kind of way to come off as being realistic on camera. It's strange. You almost have to act really fake to come off looking real.
It's okay for someone to chase me and then try to cut me off so I ram my car into a tree . . . I mean, I know this guy was trying to do his job, but his "job" almost landed me half-dead.
They put a rifle in my hand, sent me off to a foreign land to go and kill the Yellow man.
We gave each other a hug, [Richard Pryor] said how much he admired me, I said how much I admired him, and we started working the next morning, and we hit it off really well, and he taught me how to improvise on camera.
Pages were always supposed to be off-camera - we were supposed to be invisible. But I had a moment where I saw a kid who was ready to flip himself out of the balcony, so I ran down and grabbed him and put him back in his seat. I remember the stage manager taking me aside and saying, "Can you please never do that again? I know you were saving his life, but we have you in the shot."
This bloke in Rome once took his camera off and cracked me round the head with it, and I'm bleeding. He was a bit bigger than me, the Italian photographer, but I thought, 'I can't back down now,' so I sort of squared up to him. Luckily, my mate jumped round and bit him on the neck.
When you are interviewing someone, never let your camera person turn off the camera. The second you turn off the camera, they'll say the magic thing that you'd been looking for the whole interview. People want to relax after the performance is done. Don't be afraid of awkward silence. That is your friend.
Once upon a time, a long time ago, a man took off his jacket and put on a sweater. Then he took off his shoes and put on a pair of sneakers. His name was Fred Rogers.
When the photographer is nearby, I like to say, 'Quick, get a photo of me looking into the camera,' because I'm never looking into the camera. Christopher Nolan looks into the camera, but I think most directors don't, so whenever you see a picture of a director looking at the camera, it's fake.
And I told you: I think of a photograph you took of me, up in Montreal. You told me to jump in the air, so in the picture, my feet are off the ground. Later, I asked you why you wanted me to do that, and you told me it was the only way to get me to forget about the expression on my face. You were right. I am completely unposed, completely genuine. In my mind’s eye, I picture myself like that, reacting to you.
Once we played at the Fillmore opposite The Cream. Eric Clapton was there and he played his ass off that night ... backstage Michael Bloomfield introduced me to Eric, and Eric was so nice. He came up to me, put his arms around me and said "Barry, it's such a pleasure to meet you" ... I couldn't figure it out... then Michael told me that he had told Eric I had cancer and two months to live...
Behind the fury, he was tired. He was tired of being hauled around and shoved into a little room. He was tired of trying for me and failing. And to have Minias know it, to be carted off under his leash…It was almost insulting. Maybe, if I gave Al a night of peace to lick his wounds and his pride, he would grant that same courtesy to me?
I have been trying to retire to the back of the camera for quite a few years, and in 1970, when I first started directing, I said, 'If I could pull this off, I can some day move to the back of the camera and stay there.'
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