A Quote by Bretman Rock
To be honest, I don't know... something about the camera like turns me into such a diva. Like when it's on and I see my face in the camera, I'm just like, oh girl you look so good!
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There's just something about being on stage and being with the people that, once that camera turns on, you find the strength to keep it cool, look good, act like you're not cold, act like you ain't nervous, act like you aren't scared. I think that comes with confidence and practice.
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.
There's something very satisfying about old cameras because they're ingenious. I mean when you take them apart and actually see, 'Oh, this is how we make photographs,' it's an ingenious thing, but it feels like it's in a way a layman can appreciate, whereas a digital camera, I don't even begin to know what goes into making a digital camera.
The second I walk onto the set and I know that there's a camera and I know that there's a David Twohy behind that camera, there is zero pressure. There is just me jumping into a pool called 'Riddick.' It's the most free I am. It's like channeling something.
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.
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."
I don't like people who are hypocritical, who pretend to be nice, particularly in show business when they're nice on camera, and then off camera they're absolutely appalling to the makeup people, or the waitress in a restaurant, you know? I don't like - I can't bear those kind of people. So I like people who are, you know, up front in your face.
As a young person, and I know it’s hard to believe that I was shy, but you could take your camera, and it would take you to places: it was like having a friend, like having someone to go out with and look at the world. I would do things with a camera I wouldn’t do normally if I was just by myself.
As a young person, and I know it's hard to believe that I was shy, but you could take your camera, and it would take you to places: it was like having a friend, like having someone to go out with and look at the world. I would do things with a camera I wouldn't do normally if I was just by myself.
It's like he would take a photograph of Sam, and the photograph would be beautiful. And he would think that the reason the photograph was beautiful was because of how he took it. If I took it, I would know that the only reason it's beautiful is because of Sam. I just think it's bad when a boy looks at a girl and thinks that the way he sees the girl is better then the girl actually is. And I think it's bad when the most honest way a boy can look at a girl is through a camera. It's very hard for me to see Sam feel better about herself just because a boy sees her that way.
I don't think it's necessary to worry too much about being authentic. I think a picture taken on an iPhone and then filtered through something to make it look like it was taken on a Super 8 camera can be just as authentic as something taken on a Super 8 camera, if it's capturing something real or beautiful.
I would say a lot of people think I'm too serious at times, but actually I feel like I'm the opposite away from the camera and everything. I feel like I have a good time, but you rarely see pictures of me in the garage with a smile on my face, even though I am happy. I guess I just don't always show it.
Of course, you can never watch something like somebody else watches something like you, but nonetheless, you have to try. So I think on camera you learn a lot about how much the camera does for you, which is what is the great luxury of movie acting. Or acting whether it's TV or movies or whatever it is, that the camera's really such a gift because there's so much that it sees and does if you're willing to just be open and expose yourself and all of that. So you also learn what doesn't matter. And sometimes when you think about things, you think things matter that don't matter.
You don't just turn on a camera and do a cooking show. If you want to go somewhere with something, you've got to make it look like what it's supposed to look like five years from now.
A Leica camera is a camera we can keep both eyes open. You can look for the free eye that doesn't look to viewfinder and in all directions. It's like backwards - and sometimes also backwards, and you can look for the viewfinder and see your picture.
I saw Bobby Green and Lando Vannata, and everybody in the back was like, 'Oh, man, that's a sick fight!' And I'm like, 'Dude, look at his face, that cannot be good for his brain.' I'm just honest.
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