Top 1200 Camera Angles Quotes & Sayings - Page 3

There's a subtleness to camera work. You can really create intimate moments on camera and sometimes that requires a little more precision from an actor, because you have to pull people in as opposed to throwing it to them.

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.

For example, in my dorm, at the University of Kentucky, I had the only camera. I don't think anyone came to college with a camera, other than me.

Twenty-four hour news delivers people who stand and talk to camera rather than deliver reported packages with their own camera crew where it's happening.

I know of few actresses who have this incredible talent for communicating with a camera lens. She would try to seduce a camera as if it were a human being.

The camera was kind to me. But I was never a screen personality like Gable or Flynn. The camera did something with their faces that was special.

When I was younger, I was reticent to be vulnerable on camera and everything I was doing was just a really finely honed defense mechanism from when I was a kid, and I was now using this to make a living on camera.

Your camera is the best critic there is. Critics never see as much as the camera does. It is more perceptive than the human eye.

I could never imagine myself acting in front of a camera or doing anything in front of the camera. I was a very shy girl.

I don't really have a favorite camera. I use a Leica and Canon a lot. It depends, especially professionally, on the requirements. But my carry-around camera is a Leica.

Designing the technical aspects of my camera movement for me is very important. I want the camera to be a big part in telling the story as well, like what I really believe in with all the films I make.

I really enjoy blocking and staging. I think most of visual storytelling is camera placement and how to stage action around the camera.

If you don't like my work in 'The Affair,' that's fine, but I'll stand by the work because I felt that everything that went on camera was what I intended to go on camera.

I've always said the one advantage an actor has of converting to a director is that he's been in front of the camera. He doesn't have to get in front of the camera again, subliminally or otherwise.

I don't understand it and haven't understood in this world of technology: where every building has a camera, every ATM has a camera, why don't we have cameras on police officers?

When I work, I really try to get absorbed in the character. Unless I want to do something playful with the camera, I'm not too worried about where the camera is or positions.

I also know what looks good before the camera, how to move the camera, and how to get a story on the screen.

When I talk to the camera, mate, it's not like I'm talking to the camera, I'm talking to you because I want to whip you around and plunk you right there with me.

When I was 19, I picked up an old, tiny, automatic Yashica camera and I just started shooting. We didn't have iPhones back then, we didn't even have cell phones. I loved having a camera in my hand.

I don’t have a philosophy. I have a camera. I look into the camera and take pictures. My photographs are the tiniest part of what I see that could be photographed. They are fragments of endless possibilities.

The fact that I have a little ten-megapixel camera with me all the time, is way better than having the greatest camera in the world sitting at home on a desk instead of on my shoulder.

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.

Whether I'm in front of the camera, behind the camera, at my computer writing a novel or a screenplay, as long as I get to entertain someone out there, I'm happy.

I smuggled the camera, it was no problem to smuggle the camera there. And I took 60 photos, two films, during the time when there was no one in the control room, in the building.

I'm into capturing the moment. Sometimes, I'll rip the camera out of my assistant's hands and he'll be shouting, But there's no film in the camera! and I think, Never mind! Let's go.

The camera’s not a camera, really. It’s an open door we need to walk through. It’s up to us to keep moving our feet.

I know it's not particularly tech-savvy of me to suggest a camera that doesn't have a touchscreen, but I think when it comes to candid shots of nights out with friends, there's nothing better than a disposable camera.

Things like 'I'm A Celebrity,' when they're going to a trial, they might reset the camera for a bit or give a briefing that's not on camera. But 'Big Brother,' you see everything.

What's cool is that Oprah is the same person on stage and in front of a camera as she is off stage and behind the scenes. She speaks the same way on camera as she does off camera.

The camera is objective. When it records a face it can't make any hierarchical decisions about a nose being more important than a cheek. The camera is not aware of what it is looking at. It just gets it all down.

I work primarily for the camera-it's not something I really talk about a lot, but it's part of the way I am as a movie actor. The camera is my girl, as it were.

In the early days of my child labor activities I was an investigator with a camera attachment... but the emphasis became reversed until the camera stole the whole show.

My videos are a one-woman show - it's just me. I have my camera in front of me, and underneath my camera, I have a monitor. That's where I see everything.

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.

I believe in living with the camera, and not using the camera.

I got my first camera when I was 21 - my boyfriend gave it to me for my birthday - but at that point politics was my life, and I viewed the camera as a tool for expressing my political beliefs rather than as an art medium.

I remember films I made at university, which are unbelievably pretentious. Poetry that I'd written that I delivered to camera, against a Venetian blind, strong shadows, looking slightly off-camera.

There's a subtleness to camera work. You can really create intimate moments on camera, and sometimes that requires a little more precision from an actor because you have to pull people in as opposed to throwing it to them.

It is not a camera, or a reporter that makes something real and genuine; more often a camera or a reporter does the opposite.

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 terrible tragedy for every director is to watch an actor do what you want and not have the camera rolling - and never get it back again. So I always try to roll the camera before anybody's really ready.

I love goofing around, and I love breaking people's balls. I do it off camera, as well as on camera.

If I want a small take-everywhere camera, I prefer my iPhone 5, which has colors and tonal range superior to any DSLR or compact digital camera I've ever used at their default settings.

I tried to keep both arts alive, but the camera won. I found that while the camera does not express the soul, perhaps a photograph can!

With film acting, and often when the camera comes very close, you just have to think about something and the camera will pick it up.

I invented a camera that has an exposure time of one hundred years and the camera works in the simplest possible terms, because anything more complicated is more likely to break down in one way or another. It's a pinhole camera that lets in very low light and instead of exposing film, which is going to spoil within a matter of days or weeks, I'm using ordinary black paper.

My creative process begins when I get out with the camera and interact with the world. A camera is truly a license to explore. There are no uninteresting things. There are just uninterested people.

I think about it all the time. I love filmmaking. Whether I'd be in front of the camera or behind the camera, I just love that world.

I'm trying to use the camera to get into people's heads. I use camera techniques a lot to articulate character.

Once a photographer is convinced that the camera can lie and that, strictly speaking, the vast majority of photographs are camera lies, inasmuch as they tell only part of a story or tell it in distorted form, half the battle is won. Once he has conceded that photography is not a naturalistic medium of rendition and that striving for naturalism in a photograph is futile, he can turn his attention to using a camera to make more effective pictures.

Being on set in front of the camera, it makes me happy and extremely grateful whenever I'm in front of the camera.

While working with a camera crew supervising flight testing of advanced aircraft at Edward's Air Force Base, California, the camera crew filmed the landing of a strange disc object that flew in over their heads and landed on a dry lake nearby. A camera crewman approached the saucer, it rose up above the area and flew off at a speed faster than any known aircraft.

I have a whole quarantine-on-camera look and it's my Harwell Godfrey hoops, my Phenomenal shirt, glasses, and my hair tied up into a bun. If I'm on camera, I'll wear some makeup.

I've seen people 'turn up' for the camera, thinking that this is the best way to maximize their platform and get more camera time. This formula works, but it's shortsighted.

Boxing and billiards, its all angles.

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.

I don't have a typical filmmaker background. I didn't grow up with a super eight camera or a video camera. I didn't start cutting movies when I was four or five.

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've worked with actors who treat the first two takes like rehearsals. And that's okay. If the camera is on you and we're doing a scene where I'm off camera, I'm treating that as a rehearsal.

I used to be a kid with a camera, and that used to be kind of endearing to people. Now I'm sort of an old lady with a camera.