A Quote by Keanu Reeves
I'm not a photographer, so I didn't get into F-stops or ND filters or background, foreground, cross-light, all that stuff. But I was interested in the camera and the lenses. That's the world that I'm moving in, in terms of acting and giving a performance.
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At this point, I feel fairly comfortable in terms of performance. I think having a sketch background actually helps a lot. Because my background is acting, and stand-up, in a lot of ways, is acting.
If character is the foreground of fiction, setting is the background, and as in a painting's composition, the foreground may be in harmony or in conflict with the background.
Some directors are interested in acting, and others are only interested in cranes and moving the camera.
If the photographer is interested in the people in front of his lens, and if he is compassionate, it's already a lot. The instrument is not the camera but the photographer.
Moving ourselves to the background and others to the foreground is evidence that the (spiritual) search is achieving its purpose.
Usually you talk about directors in terms of the way they choose camera lenses or a kind of light to create a certain effect. But to me the most valuable commodity for a movie to create is a feeling of life, and that's what A Hard Day's Night has in spades.
When I was an actor in some movies a long time ago, I was so curious about all the camera movements - why is the camera placed here, and why does it move like this? And why the set and the background, the color? It's a lot of questions for me to ask, because I was so interested, not only in acting, but also the whole process of filmmaking.
My take is that acting is acting. A performance is a performance. With performance capture, if you don't get the performance on the day, you can't enhance the performance.
I'm giving up acting. . . . I'm 66 and there are a number of celebrations I've got to get down on paper, and acting doesn't allow me to do that. It was a hell of a drug, performance. It's a great thrill, especially for a storyteller. But it can go. Directing can go. Writing can't go. And in terms of what lies ahead, I want to have a burning focus - almost like smoke coming up from the paper as I write.
This is how you can tell a real photographer: mostly, a real photographer does not say 'I wish I had my camera on me right now'. Instead a real photographer pulls out her camera and takes the photograph.
I really enjoy behind the camera stuff and I'm a frustrated photographer myself and just love the camera. I love that side of it and that part of the filmmaking world and I enjoy developing things. It's an area that I'll continue to be more active in as time goes by.
When I started making my own records, I had this idea of drowning out the singer and putting the rest in the foreground. It was the background that interested me.
What some highbrows call rapport is nothing more than a mild flirtation between photographer and the girl on the other side of the camera. Some models get so professional they can send hours flirting with the camera itself while the poor photographer is reduced to the role of spectator.
I come from a visual background. I used to work in the camera department at Warner Bros. when I was a teenager. I grew up dusting lenses and learning about photography.
When everyone is moving towards depravity, no one seems to be moving, but if someone stops he shows up the others who are rushing on, by acting as a fixed point.
Leica are known for their still camera lenses and in the last year and a half have come out with a series of film lenses and they are brilliant. The best thing about them, apart from their quality, which is uniform, is that each one is the same size, pretty much the same weight... So in terms of fitting into the rig, everything is almost purpose built for that and the quality is beautiful, really beautiful.
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