A Quote by Koel Mallick
Now I know what it feels to be a working mother - it's a mixed feeling. A part of me wants to face the camera, the other wants to stay with my son. But I am sure when the camera rolls, I'll forget everything else.
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My son can be as open as he wants with me, but he cannot forget I am his mother and that all will not be forgiven.
The live audience is a blind date. The camera is a hungry lover. One wants to be wined and dined and seduced and then decide where the evening will go. The other knows how it wants to be touched, wants it now and can damn well tell if you are lying about it. Both are fickle. Both feel good. Depends on your mood.
The sovereign God wants to be loved for Himself and honoured for Himself, but that is only part of what He wants. The other part is that He wants us to know that when we have Him we have everything - we have all the rest.
Players build up friendships with each other, so when a team-mate wants out, part of you understands that he is torn and you know you can't begrudge him a move. But the other part of you wants him to stay because you want to win games.
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.
There are two sides to me. One is the writer. That's a savage person who looks at everything as a story and, you know, wants to use real life in his books. The other part is the Midwesterner, who, you know, wants to say nice things about people and be polite.
There's a part of me that wants to look nice and occasionally wants to be snappy, and the other part of me that just wants to wear the same sweater until I die. And I'm in constant conflict between those two sides.
That was the beginning of modern acting for me. You don't have to tell a camera everything. It gets bored if you do and wants to look elsewhere.
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.
Film, television, and working with a camera is such an intimate art form that if a camera is right on you, and I've got your face filling the screen, you have to be real. If you do anything that is fake, you're not going to get away with it, because the camera is right there, and the story is being told in a very real way.
Forget the camera, forget the lens, forget all of that. With any four-dollar camera, you can capture the best picture.
There's a part of me that wants to go streak and run outside and jump around and go swim in the ocean and do everything. The other part of me wants to bear down and repeat this kind of performance next year and in the years to come.
Zooming in, zooming out. I was shocked. I said, "Let's erase this right now, put the camera behind the stage and I'll do the performance just for the camera." He set up everything and I told him to go outside and smoke a cigarette. Come back when I finish. Don't touch the camera. This was the way how I've done most everything after that.
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.
Maybe it's just not the right time for us to be married. I don't want to be a bounty hunter for the rest of my life, but I certainly don't want to be a housewife right now. And I really don't want to be married to someone who gives me ultimatums. And maybe Joe needs to examine what he wants from a wife. He was raised in a traditional Italian household with a stay-at-home mother and domineering father. If he wants a wife who will fit into that mold, I'm not for him. I might be a stay-at-home mother someday, but I'll always be trying to fly off the garage roof. That's just who I am.
I did have a very advanced grandmother, my mother's mother, who wanted to buy me a camera. My parents wouldn't let her. Eventually she won, and I got a camera in about 1948, a Voigtlander.
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