A Quote by Edgar Ramirez

I come from Venezuela, from the independent film arena, and you work with one camera. — © Edgar Ramirez
I come from Venezuela, from the independent film arena, and you work with one camera.
I do love directing. I'm only comfortable working in the independent film arena for a very small budget where I have creative control and I can put my stamp on it.
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."
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.
Being a part of independent-film world, the independent-film community, that's what you do. You support each other. If someone's doing a movie and you trust them, you roll the dice. Sometimes it's gonna be good, sometimes it's gonna be something that's like, "Oh I don't know what the hell that is." But I've been more fortunate than not to have it work well.
Going forward, I would love to work with directors like Rian Johnson and Joss Whedon; people like that who are doing big films but do have really independent voices. That's kind of what I want to focus on, is always working with people with at least an independent point of view, even if it's not an independent film.
The difference between an amateur and a professional photographer is that the amateur thinks the camera does the work. And they treat the camera with a certain amount of reverence. It is all about the kind of lens you choose, the kind of film stock you use… exactly the sort of perfection of the camera. Whereas, the professional the real professional – treats the camera with unutterable disdain. They pick up the camera and sling it aside. Because they know it’s the eye and the brain that count, not the mechanism that gets between them and the subject that counts.
We Cubans are voting for our new constitution, we're voting for Latin America and the Caribbean. We're also voting for Venezuela, we're defending Venezuela because in Venezuela the continent's dignity is in play.
At the end of the day, it's all one version of telling a story. I treated this as if it was a two million dollar independent film. I did a lot more physical work than I'd probably have to do for a two million dollar independent film with four months of training and stuff. But as far as the character's psychology or emotional life goes, I treat it just the same.
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.
Of course, you do not do any research: you have to go there and do your film. It's not that I would travel there before without a camera and spend half a year on one of those volcanoes and then come back with a camera. You have to have some sort of a clear mindset.
I think that film is still an artform and it doesn't really matter if you're using a digital camera or a film camera.
Camera 1.0 was film. Camera 2.0 was digital. 3.0 is a light-field camera that opens all these new possibilities for your picture taking.
I've spent a great deal of my life doing independent film, and that is partly because the subject matter interests me and partly because that is the basis of the film industry. That's where the film-makers come from, it's where they start and sometimes its where they should have stayed.
I had done some stuff on camera, then I did some film dubbing when I lived in Europe. When I came back, I'd considered doing on-camera work again, but I didn't really like it.
We were using a hand-held camera to film the scene when Morse collapses. The camera wouldn't start. Three times they said action and it still wouldn't work. To this day, they still don't know what was wrong.
I love good film, whether it's an independent or studio film. The independent films, I think the good ones aren't necessarily eccentric ones but they're the more specific ones.
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