A Quote by Peter Gabriel
Whenever there's a camera around, a video or film camera, it's a great deal harder for those in power to bury the story.
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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.
I've been acting since I was 2 and have always been on camera but doing a video is different because when you're acting, you pretend the camera's not there and you just do the scene and with a music video you're right in the camera so it feels weird sometimes.
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.
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.
Film, television, and working with a camera is such an intimate art form that if a camera is right on you, and I've got your face filling the screen, you have to be real. If you do anything that is fake, you're not going to get away with it, because the camera is right there, and the story is being told in a very real way.
It's the angle that shows how we see differently. I have always believed that all documentaries are fictional. It's really the angle of the camera, the owner of the perception, that makes the story what it is. The video camera is a fiction.
Camera 1.0 was film. Camera 2.0 was digital. 3.0 is a light-field camera that opens all these new possibilities for your picture taking.
The film camera's ability to physically move through space, not zoom through space - every time we have a video camera the movement is through zoom; every time we have a film camera it is a physical movement.
The thing about the four-camera shows is that it's kind of a great combo of theater and film. You have an audience, but you have a camera to capture things, so that's a great thing, too.
Once you change the technology - from a film camera to a video camera, or from an 8-mm camera to 16 mm - you change completely the content. With 8 mm, a leaf on a tree will be made up of maybe four grains. So it's very impressionistic, almost like Seurat. If you switch to 16 mm, the technology gives you hundreds of grains on that leaf.
My main camera is a Nikon D3. I use a French camera from the 1800s for wet plate photography, I use a Hasselblad sometimes. But to me the camera really doesn't matter that much. I don't have a preference for film or digital.
Physically, rowing was remarkable resistant to the camera... the camera liked power exhibited more openly, and the power of the oarsmen [is] exhibited in far too controlled a setting. Besides, the camera liked to focus on individuals, and except for the single scull, crew was sport without faces.
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 think that film is still an artform and it doesn't really matter if you're using a digital camera or a film camera.
I don't have a typical filmmaker background. I didn't grow up with a super eight camera or a video camera. I didn't start cutting movies when I was four or five.
I'm a narrative-minded actor. I'm thinking of the story. I'm not worried about whether the camera is on the right side of my face, or where the camera is. I'm just going for the story.
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