A Quote by Taika Waititi

My style of working is I'll often be behind the camera, or right next to the camera yelling words at people, like, 'Say this, say this! Say it this way!' I'll straight-up give Anthony Hopkins a line reading. I don't care.
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.
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.
The camera cannot leave the man, but the man can leave the camera. It's in the style of documentary where you make an agreement between a camera and a man and say, "I'm going to film you now."
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!'
People just like to be on camera. There's a huge desire to be in front of the camera, and once there, people will say and do almost anything. It's sort of a drug, and I think people get addicted to it.
The camera is a natural attraction for a politician. And if a camera is here, we're going to be here. And we're going to say something, even if we have nothing to say.
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.
Some people say the camera loves me, the truth is, I love the camera.
Zooming in, zooming out. I was shocked. I said, "Let's erase this right now, put the camera behind the stage and I'll do the performance just for the camera." He set up everything and I told him to go outside and smoke a cigarette. Come back when I finish. Don't touch the camera. This was the way how I've done most everything after that.
You know how sometimes you're talking to people who love you and give you unconditional love, and you say, "But you know what? Let me back up. I forgot to say . . ."You can do that, right? You don't hesitate and say, "Oh my God! I forgot to say that!". You just speak! And you say it all, until you have nothing more to say. And that's your first draft. It's done.
If you travel to the States... they have a lot of different words than like what we use. For instance: they say 'elevator', we say 'lift'; they say 'drapes', we say 'curtains'; they say 'president', we say 'seriously deranged git.'
You could say one wine is like Dorothy in the Wizard of Oz while another is like the mature Judy Garland, or that a big voluptuous chardonnay is like Marilyn Monroe -round, bosomy - you can remember that chardonnay, If you say a wine is snappy and lively, like Robin Williams, that's very different than the Anthony Hopkins of wine - urbane, sophisticated, measured, considered.
People who are looked up to in America will often say, 'I don't get math.' And they'll often say it like they're being humble, but they seem almost proud of it because it's acceptable to act this way.
When you are interviewing someone, never let your camera person turn off the camera. The second you turn off the camera, they'll say the magic thing that you'd been looking for the whole interview. People want to relax after the performance is done. Don't be afraid of awkward silence. That is your friend.
People always say, "What do you want to do next, what kind of movie do you want to do next?" And I say, "I wanna do whatever script that is the best one that comes my way." I certainly would never say, "Oh, I'm gonna do a Western next," and sit around waitin' for a Western to come along when there's some other genre's brilliant script sitting right there.
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.
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