A Quote by Orson Welles

In the theater there are 1,500 cameras rolling at the same time - in the cinema, only one. — © Orson Welles
In the theater there are 1,500 cameras rolling at the same time - in the cinema, only one.
I think what I loved in cinema - and what I mean by cinema is not just films, but proper, classical cinema - are the extraordinary moments that can occur on screen. At the same time, I do feel that cinema and theater feed each other. I feel like you can do close-up on stage and you can do something very bold and highly characterized - and, dare I say, theatrical - on camera. I think the cameras and the viewpoints shift depending on the intensity and integrity of your intention and focus on that.
We can't keep thinking in a limited way about what cinema is. We still don't know what cinema is. Maybe cinema could only really apply to the past or the first 100 years, when people actually went to a theater to see a film, you see?
I try and shoot as often as I can, I cross shoot. I have at least two cameras rolling at the same time. So I'll have two actors or two sets of actors at a time so everybody's basically on camera. So when they improvise we have everybody's coverage. And you can then go in the editing room and find the energy still stays there.
Improvisation, for me, is when the cameras start rolling, we don't know where we're going and let's just waste people's time and money.
You know, when cameras are rolling, improvisation doesn't feel natural. The pressure is too great. You're on a time schedule. You've got 60 crewmen.
Everybody has their iPhone cameras, BlackBerry cameras, and I see those cameras pointed up at me all the time now, which is actually really good because of what it does for me and my band. There is no time for us not to be on our toes because they're on all the time whenever you're playing. I think it's very healthy.
In the theater you can chain a blue-assed baboon in the stalls and with a good script, good actors, and a good set you'd have what is called a production. With the cinema someone has to know about lenses and fine things. I have no time for the "auteur de cinema." To me, it's meaningless.
Life ain't no rehearsal, the cameras always rolling.
Whether the theater is 1,000 seats or 500 seats or 200 seats, you have to make sure the person in the back of the theater can hear you and understand you. So there's a lot of articulation and a lot of voice in theater that really just isn't necessary when it comes to dealing with the camera.
When you're on TV, you come into people's homes. In theater and film, they go to you - to the temple of the cinema or theater. And it's very different.
Unless cameras were rolling, I was pretty much not Danny Tanner.
Once the cameras rolling or the audience is in the seats, I'm on. I can't help it. I go into a trance.
Music was the only voice of cinema for a very long time before we had sound; it's organically linked to cinema itself.
I've always loved, as an Aussie, comedy is part of my life. My friends and I are always ribbing each other and that's how we get through the days. When it comes to cameras rolling and getting that timing right, the only way to do it and do it well is to throw yourself into it.
I've been doing photography in one form or another for, oh golly, over seventy years. I don't carry cameras. I used to. For many years I carried cameras wherever I went. Photograph whatever I saw that was of interest. In the last years, I've only used cameras to explore thematic ideas which presented themselves first. And then bring out the cameras to try to explore that idea.
I was raised in a family where cinema was a way of life. It was not only about making films, it was relationship, passion, love, everything at the same time.
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