A Quote by Mike Figgis
You can do really slow movements with it, like zooming in for a minute and a half. The audience isn't aware that the camera has moved, but there's subconscious tension there.
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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.
Half the audience gets where I'm coming from and half the audience is like, "Wait a minute. What does that mean?"
The one thing that I love about the live audience is the energy level. Like, from the minute of cast introductions, it's just constant energy being traded back and forth. When you do something funny, the audience laughs; when you're being serious, you can, like, feel the tension going through the audience.
Live television drama was like live theater, because you moved without thinking about the camera. It followed you around. In film you have to be more aware of what the camera is doing.
I'm always aware of the camera and it feels like that's the audience.
There is movement and movement. There are movements of small tension and movements of great tension and there is also a movement which our eyes cannot catch although it can be felt. In art this state is called dynamic movement.
In Hitchcock's eyes the movement was dramatic, not the acting. When he wanted the audience to be moved, he moved the camera. He was a subtle human being, and he was also the best director I have ever worked with.
In Hitchcocks eyes the movement was dramatic, not the acting. When he wanted the audience to be moved, he moved the camera. He was a subtle human being, and he was also the best director I have ever worked with.
I actually think film and TV are sort of the same thing now. To me they're all motion pictures. There's a camera, a script, other actors and a director. Doing a sitcom is a little different. It's kind of a hybrid, half movie, half play, presented in a proscenium fashion - the camera's on one side of the line, the set on the other, the audience sitting behind the cameras.
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.
See, they return; ah, see the tentative Movements, and the slow feet, The trouble in the pace and the uncertain Wavering! See, they return, one, and by one, With fear, as half-awakened; As if the snow should hesitate And murmur in the wind, and half turn back.
I'm very heavily involved in the editorial post-production process, and the camera - it's just such a big part of my storytelling language. I like creating the tension; I like creating the emotion through the movement of my camera, or the lack of movement through my camera, depending on what fits the scene best.
When you're the guy behind the camera, you're aware of the reasons for the compromises or the changes that get made. As an actor, you go and do your thing, and someone else down the line then does all the math and goes, "We can't include that thing where he's pretending to be dumb and needling those people, because it takes a minute and a half, and it ruins the next scene. It doesn't make sense." If you're directing, you're the one doing that.
Films I've really liked are when you've walked out and you're still in that movie for a while. That's virtual reality for me, to go into a theatre, especially with the use of sound - a subconscious thing that's underestimated. I remember seeing 'Blue Velvet' when I was 15, and half the audience walking out, but I thought my life had changed.
[on making the transition from the comedy "Mary Tyler Moore" (1970) to its dramatic spin-off series "Lou Grant" (1977)] We were really worried about changing over from a three-camera, half-hour comedy to a one-camera, full-hour drama. The audience wasn't ready for the switch - even CBS billed us in their promos as a comedy. In fact, the whole thing was impossible. But we didn't know that.
A lot of journalists help us to better understand the world by zooming out and sometimes zooming in on a really important case but sort of helping us to get a grasp of what are the structural forces that govern our lives and our societies and that is incredibly important.
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