Camera Perspective Quotes

Having been a cameraman, I think about, 'Well, if this was real, how would this be shot?' I try to inject as much realism as much as possible.

When I began to photograph nudes, I let myself be guided by this camera, and instead of photographing what I saw, I photographed what the camera was seeing. I interfered very little, and the lens produced anatomical images and shapes which my eyes had never observed.

I am not trying to be one of those sadistic, Kubrickian directors who is trying to make these tensions any worse or exploit them, but... the camera sees what the camera sees.

If you're tracking with a character that's running off a thing and diving off, I would leave the camera there and not follow them down, because cameras don't do that. The audience understands that. I'll definitely bring that understanding of keeping things a bit more grounded.

The camera is as subjective as we are.

I once got a little camera to use for details of architecture and so forth but the photo was always so different from the perspective the eye gives, I gave it up.

Bleak factory buildings and billboard-cluttered avenues look as beautiful, through the camera's eye, as churches and pastoral landscapes.

The camera is interested in what you are thinking as opposed to just what you are doing or saying.

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.

The camera is not your eye, and it's not the eye of the audience. I don't think it's my eye, either. It belongs to the film.

As the camera, I try to subordinate every word to be truthful and honest to each character's context.

Tak Fujimoto and I, when we started getting enough of a budget where we could afford the right lenses - 'cause we started out doing low-budget pictures together - we started experimenting with this subjective camera thing. And we kind of fell in love with the idea of using that as our close-up.

If you shoot with a billion cameras, then there's no perspective. You want to use one shot at a time, so it's better to discover what that is before you shoot, rather than trying to make something in the cutting room, and then it just becomes generic.

To shift the structure of a sentence alters the meaning of that sentence, as definitely and inflexibly as the position of a camera alters the meaning of the object photographed.

I do not see eye to eye with the camera.

A lot of cable television is shot on a single camera. Our eyes are more trained to that. It takes the camera off the crane, away from observing the action, to becoming a character in the story along with everyone else. People are getting used to that.

If you watch fights cage-side, sometimes different punches look better than others. It's like camera angles. Sometimes some punches look a lot better than they were, and sometimes a solid punch doesn't look good. So it just depends on your angle.

When you're on set you don't realize the way something is going to look since you're on the other side of the camera.

David Blaine, I think, was the first TV magician to really turn the camera around and make it about the spectator's experience. That's really what magic is all about.

I could get my camera and point it at two people and not point it at the homeless third person to the right of the frame, or not include the murder that's going on to the left of the frame.

the movie is not a thing which is taken by the camera; the movie is the reality of the movie moving from reality to the camera.

Photography seduces us into thinking we can believe photographs, whereas we can't really believe that a picture can tell us any kind of truth at all.

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.

The true authenticity of photographs for me is that they usually manipulate and lie about what is in front of the camera, but never lie about the intentions behind the camera.

Of course, you can never watch something like somebody else watches something like you, but nonetheless, you have to try. So I think on camera you learn a lot about how much the camera does for you, which is what is the great luxury of movie acting. Or acting whether it's TV or movies or whatever it is, that the camera's really such a gift because there's so much that it sees and does if you're willing to just be open and expose yourself and all of that. So you also learn what doesn't matter. And sometimes when you think about things, you think things matter that don't matter.