Close-Up Shots Quotes

What I do not like, the kind of high-resolution cameras, 4K, 6K, for shooting dialogue, for having faces and close-ups of actors, and you see every single pore in the skin.

In film, a dancer should always be shot from head to toe, because that way you can see the whole body and that is the art of dancing. Nowadays they shoot the nose. Left nostril. Right nostril. Hand. Foot. Bust. Derrière. The film prevents you from determining who is a good dancer and who is not.

So much of comics are dictated by characters talking to one another - or in focused spaces where 'the camera' has to stay in pretty close on what's going on.

A saucer flew right over (us), put down three landing gears, and landed out on the dry lakebed. (The cameramen) went out there with their cameras toward the UFO.... I had chance to hold (the film) up to the window. Good close-up shots. There was no doubt in my mind that it was made someplace other than on this earth.

[While shooting close-ups] you study real eyes, you study how the light reflects in them, you study the back of the eye, you study the way irises reflect emotion. You go into great scientific detail.

Because TV is mostly close up, it has to be fast. And because it has to be fast, you don't have time to explain completely, by a sequence shot, what's happening between people. So instead of experiencing what's happening, say, when a couple is dancing, dialogue is used to explain.

I've got four piercings in my left, so we've dubbed my right one the 'period drama ear.' I have to be filmed from that side when I do emotional close-ups in 'Downton.'

The power of a close-up can be extraordinary, but you have to have actors who are able to reveal themselves.

If you're working in close-ups, then an actor is only able to act with his head. I like an actor to act with their entire body.

Elijah can register such subtle emotion on his face that I loved doing close-ups on him. He really brings a superb emotional level to Frodo's scenes and although he is a very instinctive actor, we discussed the character thoroughly.

I see an incredible abuse of close-ups in many films these days. Why is that?

The way I'm used to telling a story is by looking through the viewfinder and being really close to the actors.

We tend to have so many more close shots, which compels an artist to actually put in more effort than it is required otherwise. So, it is the expressions on the face, and how an actor presents his or her character, that really makes a scene. In such ways, Mollywood is a fabulous training ground for actors and actresses from other industries.

I prefer love scenes to be shot up close with a lot of focus on eyes and mouths. Otherwise it can feel uncomfortable and voyeuristic.

I don't like, and I've never been very good at, close-up shots. As soon as you have the camera right there in front of you, it feels like you're in a different reality from the person you are acting with; you lose any real connection with them.

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.

Actually, acting in bumper cars is terrible, because the really only way to film it and get a close up is to literally mount the camera - this heavy thing on the car and it's just the worst because you can't act at all with a thing on the car.

What's hilarious is people taking photos and they think you don't know. It's the funniest thing I've ever seen. Like taking a picture of their mate for example but about three foot wide of their face - and the flash is on half the time!

For a movie actor, the biggest challenge on TV is the number of close-up shots.

A close-up on screen can say all a song can.

I believe the most interesting thing to look at in the world is the human face, so that is why I tend to be a little closer to human faces than maybe other directors will be.

The eyes are the windows of your soul, and when you're acting, they're one of your most important instruments. Especially for close-ups!

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.

Cinema became what it is today when technology allowed movie directors and actors to develop emotion. You can see into the eyes of the actors and know when they are going to cry.

I realized that my camera work could help me in a lot of ways to put the audience in the driver's seat, so to speak, to get them in there with the action, and to get them as close and be as intimate with what was going on on-screen as possible.