A Quote by Peter Graves

In drama, you're interacting with other actors to tell the story. The camera is like the theater: it's the artistic fourth wall. In a screen play, you don't look at the camera and communicate with it. But with hosting, you're looking right into the lens and talking to the people. It is a different style, and it's fascinating.
A lot of the times, reality shows don't like people to break the fourth wall. With a docu-series or a documentary, everyone breaks the fourth wall because you're talking to the camera quite a bit.
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.
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.
When the protagonist breaks the fourth wall by looking at the camera in a movie, it's generally been used for comedic purposes, rather than feeling like they're looking into your soul.
A lot of people have experimented with hidden cameras and magic before. What I do, which I think is different from any other style of prank or hidden camera, is that it's all fun. It's back to that kind of fun that 'Candid Camera' was. It's not mean-spirited at all. It's a joyful kind of play with people.
I remember, when I was a little kid playing with the 25 Legos I had, I thought, 'If I just had a camera, I could film different setups and make it look like I have way more Legos and tell a story.' I didn't get a camera, though, until I basically got an iPhone.
When I talk to the camera, mate, it's not like I'm talking to the camera, I'm talking to you because I want to whip you around and plunk you right there with me.
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.
Multi-camera's fun because you have the immediacy of the audience and just being able to tell the story more or less straight through. The thing I like about single-camera is that you have the luxury of shooting a lot of different options.
I like pointing the camera at the actors and letting them fight. Don't let the camera do the fighting for you, and don't let the camera give them the adrenaline hit. Let the people in the frame do that.
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.
In films people basically work for the camera, you know, and that's why actors can hate each other and not be speaking to each other and still look as if they're in love because really they're loving the camera loving them.
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.
People think that theater actors are too big for the camera. It's like, 'No, we're actors and we adjust for our audience.'
The late, great ABC golf anchor Jim McKay once advised me, 'When you look into the camera, imagine you are talking to one person on the other end.' The next time you hear 'Hello, friends' at the start of a broadcast, just know that I'm channeling my father at that very moment. I see him on the other side of that camera, smiling right back.
I love the luxury of the camera. The camera does so much for you. I like the secrets a camera can tell.
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