A Quote by Leigh Whannell
I like pointing the camera at the actors and letting them fight. Don't let the camera do the fighting for you, and don't let the camera give them the adrenaline hit. Let the people in the frame do that.
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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.
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.
I have received the digital camera as a blessing. It has really changed my life as a filmmaker, because I don't use my camera anymore as a camera. I don't feel it as a camera. I feel it as a friend, as something that doesn't make an impression on people, that doesn't make them feel uncomfortable, and that is completely forgotten in my way of approaching life and people and film.
A huge part of what we do as actors is learning to ignore the camera, as if it's not even there, while simultaneously being very aware of the camera and what it's capturing, because you can give the best performance of your life, but if you do it with the back of your head facing the camera, it's going to get cut from the movie.
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.
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.
I love the luxury of the camera. The camera does so much for you. I like the secrets a camera can tell.
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.
The difference between an amateur and a professional photographer is that the amateur thinks the camera does the work. And they treat the camera with a certain amount of reverence. It is all about the kind of lens you choose, the kind of film stock you use… exactly the sort of perfection of the camera. Whereas, the professional the real professional – treats the camera with unutterable disdain. They pick up the camera and sling it aside. Because they know it’s the eye and the brain that count, not the mechanism that gets between them and the subject that counts.
I don't click pictures. People carry a camera with them while travelling, take pictures, keep them as memories, but I don't. I don't even have a camera.
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.
The simple act of having a camera, not a cell phone, but a camera-camera, there’s a kind of a heightened perceptional awareness that occurs. Like, I could walk from here to the highway in two minutes, but if I had a camera, that walk could take me two hours.
In films people basically work for the camera, you know, and that's why actors can hate each other and not be speaking to each other and still look as if they're in love because really they're loving the camera loving them.
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.
The camera is one of the most frightening of modern weapons, particularly to people who have been in warfare, who have been bombed and shelled for at the back of a bombing run is invariably a photograph. In the back of ruined towns, and cities, and factories, there is aerial mapping, or spy mapping, usually with a camera. Therefore the camera is a feared instrument, and a man with a camera is suspected and watched wherever he goes... In the minds of most people today the camera is the forerunner of destruction, and it is suspected, and rightly so.
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