A Quote by Julian Barratt
I remember films I made at university, which are unbelievably pretentious. Poetry that I'd written that I delivered to camera, against a Venetian blind, strong shadows, looking slightly off-camera.
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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.
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.
The thing that made 'M*A*S*H' so good was the fact that we did have those relationships off-camera and took them on-camera.
This is the funny thing about Skype. No one is really looking into the camera. People always looking down because they're looking at the image. You wish the camera was there in the center.
I would like to see more films being made with people of color behind the camera and in front of the camera, because the more times at bat we have, the better we get.
I saw that the camera could be a weapon against poverty, against racism, against all sorts of social wrongs. I knew at that point I had to have a camera.
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.
A man with a camera was always suspected of being a spy. Moreover, the Jews did not want to be photographed, due to a misunderstanding of the prohibition against making graven images (photography had not been invented when the Torah was written!). I was forced to use a hidden 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.
For example, in my dorm, at the University of Kentucky, I had the only camera. I don't think anyone came to college with a camera, other than me.
I can remember the moment when I suddenly felt that the camera was a living partner. I suddenly felt this is art, and the camera is a co-operative living person. After that I was extremely happy to act in films.
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.
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.
My favorite films left the camera rest, and the actors and characters have a stage to act. Move the camera when it's motivating.
What's cool is that Oprah is the same person on stage and in front of a camera as she is off stage and behind the scenes. She speaks the same way on camera as she does off camera.
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