A Quote by Taylor Hackford
I also know what looks good before the camera, how to move the camera, and how to get a story on the screen.
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I think from an early age I was aware of how a camera can tell a story, how a movie camera can affect how the narrative is told.
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.
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 do like being in front of the camera more and more. Having experience behind it has taught me about lighting and angles, how to move, and what looks good and what doesn't.
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.
If you know how to shoot a scene, then you know how to shoot an action scene. If you've seen an action movie, and you watched it, and you paid attention to how scenes are constructed and where the camera is and how the camera moves, then you know how to do it.
I am a good model because I have mastered my craft. I have accepted my body, I know it well and I know how to move in front of the camera.
Sexuality, eroticism and desire are important for all of us. But that is also the contradiction. How can we speak about pictures and, for example, say no to this way of representing a woman's body? It's also a camera-and-object problem, of who is really guiding the camera.
The stigma that used to exist many years ago, that actors from film don't do television, seems to have disappeared. That camera doesn't know it's a TV camera... or even a streaming camera. It's just a camera.
If you're a certain type of actor, then eventually stepping into a director's shoes is a natural transition. I've always been the actor who's very focused on the narrative, where my character is in the story, and how I can benefit the story. I've always had a technical aspect of what the lens is, how the camera is going to move, how I can feed the information the director applies within that move. If you're that type of actor, narrative-based, technically proficient, the next step is actually not that far.
I know how to tell a story to a thousand people. Sometimes I don't know how to tell a story to a piece of tape on a wall and a camera.
It's the angle that shows how we see differently. I have always believed that all documentaries are fictional. It's really the angle of the camera, the owner of the perception, that makes the story what it is. The video camera is a fiction.
I can't remember exactly how old I was when my parents gave me my first camera, but it was a Canon, and I was certainly far too young to have such a good camera.
A camera is a camera, a shot is a shot, how you tell the story is the main thing.
I don't need a coach to tell me what to say. I need a coach to figure out what kind of shirt to wear and how to look at the camera and how to avoid, you know, picking your nose on camera.
In drama, you're interacting with other actors to tell the story. The camera is like the theater: it's the artistic fourth wall. In a screen play, you don't look at the camera and communicate with it. But with hosting, you're looking right into the lens and talking to the people. It is a different style, and it's fascinating.
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