A Quote by Robert Eggers

I am not trying to be one of those sadistic, Kubrickian directors who is trying to make these tensions any worse or exploit them, but... the camera sees what the camera sees.
It is said that the camera cannot lie, but rarely do we allow it to do anything else, since the camera sees what you point it at: the camera sees what you want it to see.
What is important is for me to do my best work on camera. The camera is inches away from you and sees every micromovement of every muscle of your eye. And if you're not relaxed, the camera sees it.
You look tight on camera, it sees it. The camera can see everything.
Pictures... are also opinions... [they] set down what the camera operator sees and he sees what he wants to see and what he loves and hates and pities and is proud of.
Photographs also show the way that the camera sees. It's not just me or you or anybody else. The camera does something that is different from our own setting.
Painting requires skill. Photography is created by the camera, and one cannot fully control what the camera sees. So people take many photographs because several must always be discarded.
The camera sees more than the eye, so why not make use of 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.
I began to realize that the camera sees the world differently than the human eye and that sometimes those differences can make a photograph more powerful than what you actually observed.
I am human. I am messy. I'm not trying to be an example. I am not trying to be perfect. I am not trying to say I have all the answers. I am not trying to say I'm right. I am just trying - trying to support what I believe in, trying to do some good in this world, trying to make some noise with my writing while also being myself.
I'm trying to learn things behind the camera and what a producer does and shadowing the directors.
I have received the digital camera as a blessing. It has really changed my life as a filmmaker, because I don't use my camera anymore as a camera. I don't feel it as a camera. I feel it as a friend, as something that doesn't make an impression on people, that doesn't make them feel uncomfortable, and that is completely forgotten in my way of approaching life and people and film.
Running backwards down the stairs, holding the camera, trying to focus on what's in front of you is difficult, and you need to be able to protect the camera.
Before the days of video village a director should stand right next to the camera, look with his naked eye and if he sees something that is real to him, he'd look up at the [camera] operator and if he gives the look to indicate he'd seen it to, then you print and you'd move on.
In the grand spectrum of things in WWE, you are wrestling for that camera and that camera and that camera - and all the cameras they have - and you have to make things work that way because, through that camera, there's a million people watching.
I can use the camera to make a place or landscape; the camera to a greater extent projects rather than takes in or reproduces. The camera, or, rather, the eye, produces the impression of the place: I as a photographer am not passively taking in; I am active as a subject generating the object.
This site uses cookies to ensure you get the best experience. More info...
Got it!