A Quote by Teri Polo

Actually, I think I'm funnier off-camera. — © Teri Polo
Actually, I think I'm funnier off-camera.
A comedy can actually get funnier and funnier. Even though you know the joke, you enjoy it so much, it's the facial expression, you laugh. The laugh doesn't wear off. It could be with you for thirty years.
I don't think Will does get upstaged because his reaction is always funnier than what is actually happening. That is also the reason Tommy is funnier than Will.
Some comedians you work with, they only turn on when the camera turn on, and they're like sad-faced clowns when the camera's off. And then, they come alive when the camera come on. And you be like, "Oh, damn. You're not a depressed ball of depression, but you are actually funny."
If you actually have to engage with somebody who's superior to you and actually battle with them, struggle with them, I think it's more interesting, and funnier for the audience.
Obviously, my stuff has been more in the comedy realm, and I really believe that if I'm laughing behind the camera, then I think the film will be funnier.
What you think is fake in your head comes off as not enough on camera, a lot of times. You almost have to overdo it, in this overly, sort of Broadway, large-gestures kind of way to come off as being realistic on camera. It's strange. You almost have to act really fake to come off looking real.
I think I've spent more time in front of a camera than off camera. That's just the way it is.
The more real it is, the funnier it is. The more awkward it is, the more people are stumbly, the funnier it is. I like a sharp joke, but it has to say something that someone would actually say.
Compared to politics, I think sports is funnier, because it's inconsequential. And politics can be real important and all that. The more pointless something is, the funnier it is, you know?
Everyone knows how people who laugh easily create us by their laughter,--making us think of funnier and funnier things.
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.
I enjoyed being at Jurassic Park, with Jeff Goldblum and Sir Richard Attenborough. It's funny, because Steven Spielberg would actually operate the camera sometimes. He'd consider the camera, and he'd be kind of looking at me. He actually shot a few of the things that I'm in, in that lab, with that long ash dangling off that cigarette. Hogging that fake cigarette. Because I had quit smoking, and he wanted to make sure I didn't go back, so he got me the worst-tasting fake cigarettes ever.
What's cool is that Oprah is the same person on stage and in front of a camera as she is off stage and behind the scenes. She speaks the same way on camera as she does off 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.
When you're working on a scene, both in the script phase and also in the moment, you look around and you wait for the lightning bolt to strike you and based on your instincts tell you what the right thing to do is here. And that can result in anything from a change of dialogue to the realisation that what you thought was a dramatic scene should actually have some humour. And maybe if you stage it this way it's funnier, or if you put the camera here it tells a different story. That stuff is kind of everything when you're a director.
Back in the day, I actually studied photography in Florence for a few months, and my photography teacher took away my digital camera and said, 'No, use this - it's analog and it's square.' It was a Holga camera, a very cheap $3 or $4 plastic camera. And that's what inspired 'Instagram'.
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