A Quote by Pola Negri
In the next shot the cameras zoomed to the fiancee who noticed the lights in the Czarina's room go out and the camera then turned to the pond where two goldfish were making love.
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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.
Frank couldn't breathe underwater. But where was he? Percy turned in a full circle. Nothing. Then he glanced up. Hovering above him was a giant goldfish. Frank had turned -clothes, backpack, and all- into a koi the size of a teen-aged boy. "dude." Percy sent his thoughts through the water, the way he spoke to other sea creatures. "A goldfish?" Frank's voice came back to him: "I freaked. We were talking about goldfish, so it was on my mind. Sue me.
When we shot the first series of Aerobic Striptease, we shot five DVD's, so we slowly put out each DVD and timed it out that they were all done and shot and ready to go. We just started shooting the next series once we felt it was time to work on the next one.
It's weird not having companionship and not having somebody to talk to. I have two goldfish in my hotel room. They said, "If you would like companionship, we can bring you a goldfish." I was like, "Bring me a goldfish!" I have two because when I needed the water changed they brought another one. I was like, "Don't take Desmond!"
I think there are two different types of people in television. There are people who can turn it on like a switch when the cameras go on, and then, when the cameras go off, they kind of lower it down a little bit. And then there are people who are on all the time, no matter if the cameras are there or not.
If you're setting up lights and tripods, and you've got three assistants running around, people will want to get you out as fast as they can. But if you go the opposite way, if you make the camera the least important thing in the room, then it's different.
I had become so quiet and so small in the grass by the pond that I was barely noticeable, hardly there... I sat there watching their living room shining out of the dark beside the pond. It looked like a fairy tale functioning happily in the post-World War II gothic of America before television crippled the imagination of America and turned people indoors and away from living out their own fantasies with dignity... Anyway, I just kept getting smaller and smaller beside the pond, more and more unnoticed in the darkening summer grass until I disappeared into the 32 years that have passed since then.
The two-piece ball I switched to spun too much. One shot would go the distance I thought it should, then the next one would fall short, and then the next one would go long.
Every time my cameras go out on a movie, we learn something new and then we take what we learn and we put it into the next generation of the cameras so we're constantly improving. It's kind of like building a race car, racing it, then running back to the shop and working on the engine some more and tinkering with it to improve it.
When you're in a two-shot together, you can't be the same as when you're both in singles. Try as you will, it cannot be the same as when you're in the shot together. It simply cannot be. It's physically impossible. You're behind the camera desperately wanting to help your colleague. When it's just you, on your own, it can be self-conscious in a way that you're not when we're just talking, you and I, and then all of a sudden it's me and then it's you. The two-shots were probably more natural.
Police in Washington D.C. are now using cameras to catch drivers who go through red lights. Many congressmen this week opposed the use of the red light cameras incorrectly assuming they were being used for surveillance at local brothels.
Working on television is like being shot out of a cannon. They cram you all up with rehearsals, then someone lights a fuse and - .BANG! - there you are in someone's living room.
You have to understand where the camera needs to me. There were times where you were suddenly aware where the cameras were, then you were in a different place and it didn't feel like the same movie.
Most times you do a movie every place except for what the camera sees is just a mess with the lights, people, and cameras so you get used to it. There is no way to shut that out, there is always a constant reminder of how many people it takes, what is going on and how many elements that goes into making this scene look right.
Cocoa-buttered girls were stretched out on the public beach in apparently random alignments, but maybe if a weather satellite zoomed in on one of those bodies and then zoomed back out, the photos would show the curving beach itself was another woman, a fractal image made up of the particulate sunbathers. All the beaches pressed together might form female landmasses, female continents, female planets and galaxies. No wonder men felt tense.
I hate cameras. I hate cameras and I hate camera phones. The camera's my worst enemy and my best friend. It's the way I convey my emotions to the world without saying a word, so I use it. People always say, 'You come alive as soon as the camera's on!'
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