Top 1200 Camera Angles Quotes & Sayings - Page 6

I hit the ball early and move my wrist a lot, so I get bigger angles.

When I was younger, I did things with a camera I would not do by myself. I remember going down to the docks in San Francisco and asking a fisherman if he would take me out on his boat. I would never do that without a camera.

Drag is all about self-expression; there's so many different angles you can take on it.

I love to just listen and watch. I could happily watch a security camera at a store. Often during a day I'll see a guy selling pretzels or an argument that somebody's having on a stoop and I'll think, "Oh I wish I had my camera, I wish I could capture this moment." There's something about people being people and interacting that can be so beautiful when it's framed by a camera. That desire to capture people as they are, and the stubbornness to keep going when they don't necessarily want you to capture them being who they are, are key.

There are photographic fanatics, just as there are religious fanatics. They buy a so-called candid camera there is no such thing: it’s the photographer who has to be candid, not the camera.

The first light-field camera array I saw at Stanford had a bunch of applications, like to do special effects like you see in 'The Matrix,' where you spin the camera around in frozen motion. It took up an entire room.

Big stories have lots of angles, and you have to decide what part of that story you want to address.

The opera tells the story with all the built-in contradictions and from many different angles.

I did a dance with Fred Astaire in the movie 'Bandwagon.' I got to waltz just from left of camera to right of camera, and I'm taller than Fred Astaire. Fortunately, I was wearing a long skirt, so I waltzed with bended knees.

When you're on camera, even though you try to lose yourself in the character, you are aware that there is a camera there capturing every moment of it visually. With doing a voiceover job, you are worried about the sound of it, and you have to make all those visual colors come out with your sound.

Micing it from two different angles in front of the speaker sounds huge, and it's so simple.

Suddenly this camera, this thing, allowed me to move around the world in a certain kind of way, with a certain kind of purpose. (On receiving a camera for her twenty-first birthday)

My McQueen particularly was hard to make, because my father was dying. I see it, and I see my confusion, my pain, my everything. I thought that it was really interesting to be able to put the people from behind the camera in front of the camera as they make it.

I ski very aggressively, and the angles that I create with my body are similar to some of the male racers.

Some people come up to be directors by coming through the camera department and there's not a lot of women in the camera department. The ones that are have to kind of prove they're one of the boys, I think. I don't want to get into trouble with generalisations but I think it's a fair observation.

The main relationship in the whole series was the one between the camera and Fleabag. I had to convince myself that whoever was watching on the other side of the camera was instantly complicit with Fleabag and instantly a friend of hers.

The camera is a natural attraction for a politician. And if a camera is here, we're going to be here. And we're going to say something, even if we have nothing to say.

One of the great advantages of my time spent in movies and in basically every role possible, both in front of the camera and behind the camera, that I've gotten to see all these different ways that people work and the way movies are constructed from the inside out, from beginning to end.

Neil Mahoney was definitely the visionary in taking 'Freak Dance' from stage to screen. He made it more cinematic. He brought the choreography, all the ways to shoot that. I was more the director of actors. I was in front of the camera directing, and he was behind the camera directing.

What is life without its angles of difficulty and defeat, and its tip of triumph and power?

Creativity arises from our ability to see things from many different angles.

The equation I share with the camera doesn't change whether you place a camera in front of me or a live audience. Just the pay cheques differ. But that doesn't matter to me because I've so much money, I don't even think about it. It's just lying there.

When I got the camera on the shoulder, they give me a nickname. They call me 'the tripod' because I'm kind of short and kind of strong. So if I take the camera and I lock myself, you think that you're on a crane.

There's nothing sillier than fake rough edges, like the handheld camera you sometimes see on "NYPD Blue," shaking and jittering around, unmotivated, way more than any actual documentary camera would.

It is clear enough by now to most people that the camera never lies is a foolish saying. Yet it is doubtful whether most people realize how extraordinarily slippery a liar the camera is.

I started working in front of the camera for the first time when I was 15 years old. I joined a soap opera. We filmed in Brooklyn and I would skip class to shoot my scenes. It was terrifying and I entirely self-conscious in front of the camera.

Hollywood is all made up, anyway. Especially the stories and angles that people want to pin on you.

I made a big mistake with him the first day I shot. We're shooting the scene where I come back from the party, the dance, in the sleigh with Julie Christie and we turn the corner and go past the camera and the camera follows us just a little bit and we disappear.

Of course, the camera is a far more objective and trustworthy witness than a human being. We know that a Brueghel or Goya or James Ensor can have visions or hallucinations, but it is generally admitted that a camera can photograph only what is actually there, standing in the real world before its lens.

I really enjoy behind the camera stuff and I'm a frustrated photographer myself and just love the camera. I love that side of it and that part of the filmmaking world and I enjoy developing things. It's an area that I'll continue to be more active in as time goes by.

In Yiddish, we say, 'Nisht ahin un nisht aher.' It's neither here, it's neither there. I get more nerves than on anything I do when I'm doing multi-camera. But single-camera, I love very much.

The majority of my background is multi-camera format, which is very broad and a very arch perception of reality. Whereas single camera tends to be more truthful and a little more intimate of a medium.

I have a lot of appreciation for what people do in front of the camera as well as behind the camera. I don't think I could like one without the other. Eventually, I think the road will lead me down to producing or directing, because it's more about problem solving.

Latinos are the fastest growing minority, and we're obviously not going anywhere. We're extremely loyal as a people, and I think Hollywood is starting to recognize that. It's very rare for a major studio to nationally distribute a film with Latino talent, not only in front of the camera, but also behind the camera.

I do believe that a film like Ten could never have been made with a 35mm camera. The first part of the film lasts 17 minutes, and by the end of that part, the kid has totally forgotten the camera.

I neglect God and his angles for the noise of a fly, for the rattling of a coach, for the whining of a door.

Every fight is one between different angles of vision illuminating the same truth.

I'm not one of these actresses like, 'Okay, where's the camera? Is it here? Is it here?' I don't even ask the questions because I don't really want to know. I like not performing for a camera but giving it my best every single time whether you're close or whether you're far.

A lot of photographers think that if they buy a better camera they'll be able to take better photographs. A better camera won't do a thing for you if you don't have anything in your head or in your heart.

What I love is a good role. In the theatre, there is just a canon of extraordinary roles, the quality of character is amazing, but I also love working in front of a camera. It was the first one for me; as a kid I was in front of a camera. I feel at home.

Impact is just always improving at all angles. There is a lot of creativity and thought that goes into everything.

'Scandal' has been, for me, the most consistent time I've ever logged in front of a camera. I grew up in the theater, and I feel very confident and comfortable on the stage and in front of a live audience, but the camera is a very different medium.

Doing makeup, especially for drag, is all about being aware of the geography and angles of your face.

I usually tape about 99 percent of my auditions at my house. I have a camera and record myself, and my mom reads the other lines off-camera. Then I send it to my agent and manager, and they send it to the casting director, and we see how it goes from there.

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 you're acting in front of a camera, you can really give all of your emotions with your eyes so the camera can see it. When you're in voiceover, you can't do that at all. It's a lot tougher because you have to convey this emotion, and you have to have a lot of trust in the animators.

My manager and fellow YouTuber, Mike Lamond, encouraged me to start a YouTube channel as a way to practice speaking, entertaining, and being more comfortable in front of a camera. In the beginning, I used an $80 dollar flip-camera and edited every episode myself.

There is nothing worse than when actors come to a set - and it happens a lot with big stars - and they are too aware of where the camera is. They are the show. And that becomes apparent and it affects the production. I am like 'You should not know where the camera is - you should act, and I will do the rest.'

As a director, what matters is how you penetrate the soul of the person in front of the camera and let the actor blur the boundaries between the character and the person themselves. In order to achieve that, I try to make people feel at ease, to be mindless of problems and be skinless and give everything to the camera.

A man with a camera was always suspected of being a spy. Moreover, the Jews did not want to be photographed, due to a misunderstanding of the prohibition against making graven images (photography had not been invented when the Torah was written!). I was forced to use a hidden camera.

As poets, our lamentations are glorious, filled with the virtues angles would learn to envy.

There's a certain way people are used to seeing nude women, and that's in a submissive, coy pose, not looking at the camera. And in this poster, I'm looking dead into the camera with no expression on my face. I think it freaks a lot of people out.

What's lovely about what I do for a living is the vast chasm of variety that constantly just comes at you from all angles.

The film [ Wyatt Earp and the Holy Grail] was shot on a KODAK Zi8 camera as well as on multiple camera phones. It was processed using the effects of FINAL CUT X and then edited in FINAL CUT 7.

I was a lawyer for about ten years. The law teaches one to see things from all different angles.

I don't try to hide who I am when I appear in public places, act, or attend interviews. If I do, it makes the gap even wider. I like it best when someone says I'm the same on television, on camera, or off camera. This makes it easier for me.

When I don't have the time to be in the Himalayas, I am in Bombay, Los Angles or N.Y. or Paris or wherever.

I like friends who have independent minds because they tend to make you see problems from all angles.

My style of working is I'll often be behind the camera, or right next to the camera yelling words at people, like, 'Say this, say this! Say it this way!' I'll straight-up give Anthony Hopkins a line reading. I don't care.

Five years ago, we came to the realization that the camera can be used for more than capturing memories. We showed it can be used for talking. The dream for us is expanding the camera and what it can do for your life. It has capabilities beyond making memories.