A Quote by Michelle Yeoh

In Europe and America, you never see a director pick up a camera. They all sit behind monitors. — © Michelle Yeoh
In Europe and America, you never see a director pick up a camera. They all sit behind monitors.
There are a lot of actors who will watch the monitors. They'll do a scene, and then the director will look back to see if he got whatever he wanted. I just find it odd to sit there and watch yourself. But if you can be objective, I can see how it's really useful as a tool, especially if you're doing something physical.
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.
There are a lot of actors who will watch the monitors. They'll do a scene, and then the director will look back to see if he got whatever he wanted. I just find it odd to sit there and watch yourself.
On practical level I can't pick up the camera until I think I know what I want. I don't wander around. It's almost impossible for me to pick up a camera... it's really hard.
They use those monitors now, and sometimes you'll be doing a shot and then suddenly you see yourself on one of those monitors, and I always say turn the monitor round, I don't want to see myself on the monitor. I never see myself 'til the movie's finished.
I just use [the camera]. I just pick it up like an axe when I've got to chop down a tree. I pick up a camera and go out and shoot the pictures I have to shoot.
Pick up a camera. Shoot something. No matter how small, no matter how cheesy, no matter whether your friends and your sister star in it. Put your name on it as director. Now you're a director. Everything after that you're just negotiating your budget and your fee.
I realized the exciting place was behind the camera with the producer, director and so on.
On camera, the audience can see your eyes close up - they can see behind your eyes - and when you're on stage, you need to make sure that the person sitting in the back row can feel what's happening behind your eyes, even if they can't see them. Having a live audience is exhilarating and exciting all on its own, but you know, it is quite different.
With film acting, and often when the camera comes very close, you just have to think about something and the camera will pick it up.
My dad gave my brother and I a camera to film our football games when we were 10 years old so we could see how we could get better. Then one day, we decided to pick up the camera and film whatever we were doing.
Neil Mahoney was definitely the visionary in taking 'Freak Dance' from stage to screen. He made it more cinematic. He brought the choreography, all the ways to shoot that. I was more the director of actors. I was in front of the camera directing, and he was behind the camera directing.
My McQueen particularly was hard to make, because my father was dying. I see it, and I see my confusion, my pain, my everything. I thought that it was really interesting to be able to put the people from behind the camera in front of the camera as they make it.
We never want to see anyone go in front of the camera or behind the mic without union protection.
I want to be the person who eventually doesn't have to be in front of the camera. I can be behind the camera and really change things cinematically, and this is giving me an opportunity to do something behind the camera, which I really want to maximize.
Europe will never be like America. Europe is a product of history. America is a product of philosophy.
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