A Quote by Robert Osborne
The weird thing with 'Kismet' is that Vincente Minnelli didn't know what to do with a Cinemascope camera for that film - so he never moved it! It's like in the old days when sound first came in and was so complicated that the camera just sat there. There are hardly any close-ups in 'Kismet,' so everything's at a bit of a distance.
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Shooting a film is like a kismet quest. You have thirty days and you need magic to happen. So that's why I wear suits. I'm praying to the gods, and I'm doing everything I can to respect the powers of the world.
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 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.
I know when I watch a film at this point, if I completely lose myself in the characters and the story and the world of the film I know that it's at least in my opinion, that was great. Otherwise I'm thinking: "Oh I know they were just doing A, B and C, right before they walked into the scene, then the camera was there, then they probably took the shot from this reverse close-up and moved it into this." When all of that drops away then I'm like: "Okay this was phenomenal, this was fantastic." I mean, any film or TV performance in general is probably good.
I invented a camera that has an exposure time of one hundred years and the camera works in the simplest possible terms, because anything more complicated is more likely to break down in one way or another. It's a pinhole camera that lets in very low light and instead of exposing film, which is going to spoil within a matter of days or weeks, I'm using ordinary black paper.
You cannot begin to imagine the shock I had when I came down on the floor for the first time. First of all, there's this whole thing about playing sitcom comedy. I didn't want to do the sitcom thing, but I didn't know what else to do. I went slowly. We went through the week of rehearsal, then we got on the floor with the cameras, which I'm used to because of my experience in the old days. Then came camera day, with an audience, and it was stunning, enthralling, exciting and chaotic. I had never experienced anything like that before, as an actor. I was part minstrel, part actor.
I do believe that a film like Ten could never have been made with a 35mm camera. The first part of the film lasts 17 minutes, and by the end of that part, the kid has totally forgotten the camera.
With film acting, and often when the camera comes very close, you just have to think about something and the camera will pick it up.
It's either some sort of a kismet or something that I've been offered a film like 'Zero Dark Thirty,' which I would have lined up to be the first one to watch that movie, had I not shot it.
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.
At some level, you've got to have the ability to - especially in film and in front of the camera, you got to have the ability to drop into character and close off the entire crew and the camera and everything else.
With photography, everything is in the eye and these days I feel young photographers are missing the point a bit. People always ask about cameras but it doesn't matter what camera you have. You can have the most modern camera in the world but if you don't have an eye, the camera is worthless. Young people know more about modern cameras and lighting than I do. When I started out in photography I didn't own an exposure meter - I couldn't , they didn't exist! I had to guess.
Things like 'I'm A Celebrity,' when they're going to a trial, they might reset the camera for a bit or give a briefing that's not on camera. But 'Big Brother,' you see everything.
My first pictures are from 1972, and my first proper camera dates back to 1973. During the first year I used my father's camera. It had a flash on it, which I don't like, but I didn't know anything about photography back then, so it was just what I did.
Everywhere we walked we got plenty of attention due to the camera and sound men. The locals love to get on camera. [...] I'd seen footage of Gandhi surrounded like this and always thought it was because he was very popular, but now I wonder if it was just because he had a camera crew with him.
There's no such thing as chance, it's all preordained.Lik e KISMET.
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