Camera Direction Quotes

That was the beginning of modern acting for me. You don't have to tell a camera everything. It gets bored if you do and wants to look elsewhere.

I don't even consider directing Burt. I just say, 'Hey, Burt, the camera's here. Read the joke and let's get onto the next shot.'

I don't story board. I do something else, which is, I block it. We then train to the blocking. In other words, when everybody's training, they're actually training a lot of the moves that we are definitely going to use, and then, I do a lot of photography of that, and that becomes where the cameras go.

Direction is something that interests me. Even while shooting, I always have conversations with the director to get a better understanding of shooting technicalities.

I really enjoy being behind the camera. A ton of projects I've done that are my most favorite projects would be where I actually executive produce and I'm behind the camera.

There are a thousand ways to point a camera, but really only one.

You can always tell in a movie when they are setting you up for something. If someone leaves an important object on the table and walks away, the camera will have some way of indicating that to you.

If I was at the Comedy Cellar at midnight you yelled at the back of the room. But you, for television, play it to the camera because yes you're communicating to the people at home using the studio audience that's right in front of you as a guide for that.

I was so used to documentary filming, where it's one take. You can't really say, 'Make that elephant charge again!' And you talk to the camera. With movie filming, you're talking to someone else.

We had a script that was really solid and we knew how we were going to shoot and how the energy of it was going to go. So it gave us a lot of freedom to use the camera as a character.

I'm attracted to working with comedians because they don't have that stars' idea of what a hero should be. The downside is they're always addressing the camera too much.

I always direct next to the camera and watch my actors, and so you can see the small things that you can't see on the small screen but you can definitely see on the big screen.

An actor stands in front of a camera onstage, and he controls time and space for the audience. He tells them how long this will take, where to look, when to look, what to think about it. And good performers should be able to do their part with the sound off.

I loved being asked 2,000 questions a day, storyboarding every move, knowing as though by instinct exactly where the camera had to be, because it was my story.

I don't write tracking shots in my screenplays or any camera directions, but I do try to give a sense of how the action is moving.

Editing can alter the original meaning and context, and computers can alter the image itself. The camera can also be manipulated. At the very least, it must be turned in one direction - only one direction at a time ... Who chooses what direction to point the camera, and why?

Acting I never worried about, but it's so strange that on-camera work is so much more technical than theatre work, which I would have never thought in a million years.

On-camera stuff just hit. I decided to do it to supplement my voice-over career, but I ended up falling in love with it, and it actually hit a lot harder than my voice-over career.

I'm very interested in directing actors - many directors direct cameras.

I think eating in itself is the act of great sensuality, so all you have to do is point the camera in the right direction.

I loved being asked 2,000 questions a day, storyboarding every move, knowing as though by instinct exactly where the camera had to be, because it was my story.

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.

Sometimes you do things without knowing the plan or how many cameras. You serve the camera - that's the big difference.

Bizarrely, on movie sets, they don't really dig it when you look in the camera, which is a bizarre fact.

When I moved to New York I started to do a lot of TV commercials. It just kind of naturally evolved from still photography to commercials.