A Quote by Uzo Aduba

You think the only thing looking at you is this steel thing, but behind the camera is this living, breathing person operating the camera whose job it is to watch you.
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.
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.
This is the funny thing about Skype. No one is really looking into the camera. People always looking down because they're looking at the image. You wish the camera was there in the center.
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 want to be the person who eventually doesn't have to be in front of the camera. I can be behind the camera and really change things cinematically, and this is giving me an opportunity to do something behind the camera, which I really want to maximize.
You don't want to be the guy whose back's to the camera in the emotional part of the movie. So, you have to be aware of the camera movement and what the camera's doing.
It's a hard job to get the camera to see it like you see it. Sometimes you have it just the way you want it, and then you look in the camera and you don't have the balance. The main thing is to get the camera to see it the way you see it.
For me, the brand of the camera is not the most important thing. I think you can take good pictures with the camera on your phone.
The only thing which completely was an amazement to me and brought me to photography was the work of Munkacsi. When I saw the photograph of Munkacsi of the black kids running in a wave, I couldn't believe such a thing could be caught with the camera. I said, 'Damn it', I took my camera and went out into the street.
You don't have to be just one thing. I think that applies to women in front of and behind the camera.
I know what to do with the camera because I see the giant in the camera when I'm operating it live on the set.
The thing about the four-camera shows is that it's kind of a great combo of theater and film. You have an audience, but you have a camera to capture things, so that's a great thing, too.
I actually think film and TV are sort of the same thing now. To me they're all motion pictures. There's a camera, a script, other actors and a director. Doing a sitcom is a little different. It's kind of a hybrid, half movie, half play, presented in a proscenium fashion - the camera's on one side of the line, the set on the other, the audience sitting behind the cameras.
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 can remember the moment when I suddenly felt that the camera was a living partner. I suddenly felt this is art, and the camera is a co-operative living person. After that I was extremely happy to act in films.
Latinos are the fastest growing minority, and we're obviously not going anywhere. We're extremely loyal as a people, and I think Hollywood is starting to recognize that. It's very rare for a major studio to nationally distribute a film with Latino talent, not only in front of the camera, but also behind the camera.
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