A Quote by Kurt Voss

Someone comes and drags you in front of the camera, and they're already saying, "Okay, we got it. Moving on." You get one or two takes. So it's a tough job. — © Kurt Voss
Someone comes and drags you in front of the camera, and they're already saying, "Okay, we got it. Moving on." You get one or two takes. So it's a tough job.
I've worked with actors who treat the first two takes like rehearsals. And that's okay. If the camera is on you and we're doing a scene where I'm off camera, I'm treating that as a rehearsal.
I really trust the authenticity of real people and my job is to get them to be themselves in front of the camera. Often what happens is, you'll get a newcomer in front of the camera and they'll freeze up or they imitate actors or other performances that they've admired and so they stop becoming themselves. And so my job as the director is just to always return them to what I first saw in them, which was simply an uncensored human being.
I couldn't be more thankful to get my start on a soap opera. It was the hardest job I ever had. Got to practice in front of the camera, like, every day.
Being in front of the camera - first of all, when I wanted to get into television, it was as a producer. I never had an idea that I would do anything in front of the camera, and that kind of happened by accident. But I wanted to be a producer or give me a job with the Yankees or play for the Knicks. I was a sports nut when I was a kid.
I'm a tough girl, I know what my job entails - it entails a lot more than standing in front of the camera. So I get it. I won't deny the physicality of it is exhausting, and sometimes my body just can't keep up. But it is ultimately about mind over matter.
Whether I'm in front of the camera, behind the camera, at my computer writing a novel or a screenplay, as long as I get to entertain someone out there, I'm happy.
The camera course was a bit crap. But when I was in drama school, I wasn't interested. I wanted to be a stage actress. I was not interested in learning camera craft. But then you throw yourself in the deep end when you do get a job in front of the camera because you have absolutely no idea what you're doing, and it is a skill.
I think I was afraid of what I might say when I got onto someone's stage or in front of someone's camera.
When I first started, it was a dare. Someone basically said, 'You're a tough guy... but I'll bet you won't get on a microphone in front of a bunch of people.' I was terrified, but I did it. Once I broke the ice and got onstage and got some laughs, I thought, 'That's not so bad.'
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.
'Hollyoaks' is where I learnt a lot of the craft, being in front of a camera six days a week. That's certainly an experience you don't get in drama school. It invites you to be comfortable in front of the camera.
I never have free time, I don't know about you. You ever go to the cash machine, there's two people in line in front of you and you get kinda flustered, you're like "Forget it! I'm not standing here for 40 seconds. I got things to do, okay?"
I'm bad in front of the camera. However, if someone gave me a small role in a film with two dialogues and one scene, I'd do it.
Doing the press has become as much of a job as getting in front of the camera. You have to avoid burnout, avoid saying anything stupid, but still come across as yourself.
People think of rugby players as being tough but it's another thing to stand in front of someone and get kicked, punched, taken down. In rugby you have two contact sessions a week and you play a game on the weekend.
I never do anything for the camera. It's my job to pretend the camera's not there. I'm never moving for the camera.
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