A Quote by Rebecca MacKinnon
Professional camera crews are rarely there when a bomb goes off or a rocket lands. They usually show up afterwards.
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The difference between an amateur and a professional photographer is that the amateur thinks the camera does the work. And they treat the camera with a certain amount of reverence. It is all about the kind of lens you choose, the kind of film stock you use… exactly the sort of perfection of the camera. Whereas, the professional the real professional – treats the camera with unutterable disdain. They pick up the camera and sling it aside. Because they know it’s the eye and the brain that count, not the mechanism that gets between them and the subject that counts.
When a bomb actually goes off, there's a lot of confusion, and people often don't know a bomb has gone off. For a long time, people might think there's been an electrical malfunction or something else that's exploded.
And as an actor, just working with someone as seasoned and professional and kind as Richard Jenkins, it's always a learning experience watching him - on camera and off camera, just soaking it all up.
I love my camera crews on all my jobs. It's the half of the job that the audience never gets to see. They're integral. They're as much a part of making a movie or television show as I am.
Anger is a fuel. You need fuel to launch a rocket. But if all you have is fuel without any complex internal mechanism directing it, you don't have a rocket. You have a bomb
The bomb goes off in Australia, and a 360-degree sphere of ionosphere (which is up there not too far above your heads, not too many miles) flashes. In other words, the flash in Australia, the ionosphere flashes. People get a secondary kickback from the ionosphere just as though they were standing next to the bomb, don't you see?
You can't show up on set and expect it all to come together. You have to have a plan, much like how the director can't just show up and go, well, where should I put the camera? That is gonna determine how it is lit, you should have already been in the room looking at it earlier, pre-lit the room, you know there is a lot of prep that goes into it, so it is the same thing with acting. You can't just show up.
A professional player is smarter than a college man. He uses his noodle. He knows what to do and when to do it. He rarely goes up in the air as is the case with most of our college players when they get in a tight place.
People get so riled up, and they wanna fight shows, but all they have to do is turn it off, and you see what happens? The show goes off. That's all you have to do. You don't have to fight anybody. You don't have to hold up signs.
I rarely shared my personal life or what I'm like off camera.
It is said that the camera cannot lie, but rarely do we allow it to do anything else, since the camera sees what you point it at: the camera sees what you want it to see.
When you perform in front of an audience after only two days of rehearsal, you're flying by the seat of your pants - particularly when they're rewriting the show right up to the moment the camera goes on.
I usually tape about 99 percent of my auditions at my house. I have a camera and record myself, and my mom reads the other lines off-camera. Then I send it to my agent and manager, and they send it to the casting director, and we see how it goes from there.
You know that old Beach Boys song, Bomb Iran? Bomb bomb bomb, bomb bomb Iran.
I don't have camera crews. I don't have sound guys. What you see is what you get: just me and my camcorder.
I built my own studio. I don't have the professional language to describe it because I'm not a videographer - but I'm a technician. So I get the camera, I get all the things that translate the camera to the computer, I set up a live session, I do the security on it, I set up a background so I can key it out, like newscasters do, and replace it with whatever I want - and I can be anywhere I need to be.
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