Camera Work Quotes

The first time I went behind the camera was in 1993. I felt, 'This is my thing,' and I knew that someday I'd make a feature.

I feel more in touch with the world when I'm filming.

Effectively, as a cinematographer, I am always on the lookout for a project that makes me want to go to the cinema.

I'm always secretly the most pleased when a show just really, really looks good and when my camera guys are really happy with the images they got.

I have been doing films since I was seven. I really love the medium itself.

I have definitely been curious and involved in the process; even as a young actor. I was always looking at where the camera was, what story it was telling. And as my experience grew, I wanted to know even more.

There's such good people out there where there filmmaking world is alive.

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.

I don't direct movies for a living.

I have to have a working knowledge of light, and optics, film emulsions and their properties, and lenses, otherwise I can't create the shoots that are the vocabulary of the films. But it is not necessary for me to be a cameraman, I can hire a cameraman.

To come into my world, I've got some M&Ms and some potato chips, and I'm asking you to move furniture. We're making a movie. We're making it like we're putting on a play.

After dubbing my lines for the first time, I'd say it's more difficult than performing in front of the camera.

So anyway, I've learned a lot about myself just in terms of acting but just work ethic and interesting things like full-page monologues or talking straight into camera, which I had never gotten to do before.

The truth is, an actor's performance is the result of work by a lot more people than just the actor. When you see that character portrayed up on screen, there is the work certainly of the actor, but there's the work of the editor, there's the work of what the camera was doing. What the music was doing, all of the above.

It's always been a lie that it's difficult to make films.

TV is designed a certain way where you have three, four days on stage and three or four days out. You're basically making a feature every seven days. You have to shoot an hour's worth.

I'm a visual filmmaker so the camera is a big part of my storytelling tool and it's something that I really rely on to tell a scene or create the suspense that I need and create the emotion of a scene or a sequence.

At the core, I'm a filmmaker and a storyteller.

Improv is not something I had a lot of experience with, because for a long time, my only experience in front of a camera was all television, which is pretty rigid script-wise, except for the occasional scene where you toss in an ad-lib just to elongate something. Like, say, you're walking down a hall and you just don't have enough dialogue, and you throw in something. But you don't really have time to do other than what's written. It's very rigid. Shows have a certain rhythm that nobody wants disturbed.

I love the work, I love being in front of the camera and working with actors and directors and creating something. For me, it's like learning everyday.

When I shoot a film, I take my camera and put it among the characters and let it show you their world, their problems, their happiness and the little things that matter to them.

I love working with a lot of different films and a lot of different people.

You don't rehearse jazz to death to get the camera angles.

When I started making films, like almost every filmmaker, I think, you're just so excited to be able to make a movie that you'll do anything.

The whole thing about working in front of the camera is to make people laugh when they're not supposed to.