A Quote by Stephanie Allain

I would like to see more films being made with people of color behind the camera and in front of the camera, because the more times at bat we have, the better we get. — © Stephanie Allain
I would like to see more films being made with people of color behind the camera and in front of the camera, because the more times at bat we have, the better we get.
We have African-Americans and black people getting behind the scenes more and more, we get true black images in television and film...because we have black people behind them. They can tell stories from those points of view and bring to life those characters who have yet to be shown. As long as we have people behind the camera just as much as in front of the camera doing the work, then we'll always be good.
I do films to be behind the camera, not in front of the camera. I'm sure I say very intimate things about myself in all my films, but it's better to say it not too directly, to be hidden behind a woman.
Neil Mahoney was definitely the visionary in taking 'Freak Dance' from stage to screen. He made it more cinematic. He brought the choreography, all the ways to shoot that. I was more the director of actors. I was in front of the camera directing, and he was behind the camera directing.
I've discovered that being behind the camera is more fascinating. If I had to choose a profession today, it would have been something behind the camera.
I have a lot of appreciation for what people do in front of the camera as well as behind the camera. I don't think I could like one without the other. Eventually, I think the road will lead me down to producing or directing, because it's more about problem solving.
We need to have more conversations about representation as well as the imbalance in terms of needing more women behind the camera and in front of the camera, and the diversity factor.
We know lots of progress is being made, but the industry must do more to help disabled people work both in front of and behind the camera.
We need women behind the camera like we do in front of the camera. That's when we will have stronger, smarter, better roles for us.
My McQueen particularly was hard to make, because my father was dying. I see it, and I see my confusion, my pain, my everything. I thought that it was really interesting to be able to put the people from behind the camera in front of the camera as they make it.
I do like being in front of the camera more and more. Having experience behind it has taught me about lighting and angles, how to move, and what looks good and what doesn't.
For me, being a complete artist means not necessarily just being in front of the camera, but being behind the camera or being the originator or creator of something.
Being behind a camera, in front of the camera, is my own little deconstructionist niche.
I'm always going to hear people make that connection and I've just accepted it. It's alright. I'm just happy that I get to do my own thing now. I learned a lot from the show [the Voice] as far as being in the TV world and being in front of the camera, which is really great because I'm not as nervous in front of the camera as I was before.
Being just an actor, sometimes people are like, "Hey, man, we don't wanna see you no more, in front of the camera," and I don't want that.
I require a lot of stimulation, and there's so much I've learned being in front of the camera, I felt like I had more to give behind it.
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.
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