A Quote by Martin Landau
A lot of the time with an independent production, you go onto the set, and you rehearse it in front of the crew, and at that point, the cinematographer takes over. You start accommodating the camera instead of the camera accommodating you.
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The difference between a regular camera and a 3D camera, for an actor, is really no different except that the turn-arounds are longer. It takes a lot longer to set up a shot because the cinematographer is really trying to set up a whole world, so it can't be more intricate and more beautiful to the viewers, in 3D.
Being on set in front of the camera, it makes me happy and extremely grateful whenever I'm in front of the camera.
It was extremely useful to grow up in front of the camera. It gives the camera no significance. I think it helped me have perspective on things. The attraction that Hollywood can have, I feel like I'm over that. Instead I just concentrate on acting.
I'm the most experienced cinematographer in this medium, so there's no point in having that extra conversation in the middle of the loop. You're making the film in relation to what's happening now, and you can't really affect what's happening now. It's not like you're in control of anything in front of the camera. If you're calling yourself the director and you're not the cinematographer, I think you're kidding yourself.
When I got on my first set, I watched what the cinematographer was doing, and at that level in film school, the cinematographer has the most control. They're the one looking through the viewfinder, carrying the camera, framing the shots.
While working with a camera crew supervising flight testing of advanced aircraft at Edward's Air Force Base, California, the camera crew filmed the landing of a strange disc object that flew in over their heads and landed on a dry lake nearby. A camera crewman approached the saucer, it rose up above the area and flew off at a speed faster than any known aircraft.
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.
There is nothing worse than when actors come to a set - and it happens a lot with big stars - and they are too aware of where the camera is. They are the show. And that becomes apparent and it affects the production. I am like 'You should not know where the camera is - you should act, and I will do the rest.'
'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.
In the U.S., it's like, you start with a great script, and then on set - not everybody, but definitely in the Apatow group - you go off, and you're improvising on camera. So while you're on camera, you're saying things that no one else has ever heard before during the actual take.
The reality is, because of access to film, you don't have a lot of black people who want to go behind the camera. We raise our children to want to be in front of the camera and shine, and that's on us.
At some level, you've got to have the ability to - especially in film and in front of the camera, you got to have the ability to drop into character and close off the entire crew and the camera and everything else.
I know what it takes to go from the point where someone's looking at a newspaper article, and thinking, 'Oh, this would make a great TV series,' to the point where you're actually on a set and there's a camera aimed at someone.
You can start a documentary with just a camera, as opposed to a fiction film where you need actors, a crew, a script, a lot more start-up resources. It may be self-perpetuating.
I started working in front of the camera for the first time when I was 15 years old. I joined a soap opera. We filmed in Brooklyn and I would skip class to shoot my scenes. It was terrifying and I entirely self-conscious in front of the camera.
A sitcom, you rehearse for four days of the week and then you shoot it all in one night in front of a studio audience. It's like a play every week, you just shoot it over a seven or eight-day period with a single camera. I enjoy this format of show much more. I'm a feature guy. I like making movies. So the four camera thing I didn't love it that much. I found myself slightly out of my element.
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