It's a very long and difficult schedule on a single-camera show.
Pretty early on in making the first movie I realized that this is what I wanted to do. I felt like by that time I just found my niche, like this is what I was supposed to be doing. So I completely submerged myself into the world of watching movies, making my own movies, buying video cameras and lights. When I wasn't making a movie, I was making my own movies. When I wasn't making movies, I was watching movies. I was going back and studying film and looking back at guys that were perceived as great guys that I can identify with. It just became my life.
Kai neared his desk again, seeing that the fugitive's profile had been transferred to the screen. His frown deepened. Perhaps not dangerous, but young and inarguably good-looking. His prison photo showed him flippantly winking at the camera. Kai hated him immediately.
I think I was very shy and introverted when I was younger, and yet, when I got in front of the camera or went out on the town, I was able to go out half-naked and do anything.
I won't do reality. That is done. And I don't want people following me around with a camera 24 hours a day.
When I first had a video camera to document a performance, it was in Sweden and I remember it was really crucial for me.
Zooming in, zooming out. I was shocked. I said, "Let's erase this right now, put the camera behind the stage and I'll do the performance just for the camera." He set up everything and I told him to go outside and smoke a cigarette. Come back when I finish. Don't touch the camera. This was the way how I've done most everything after that.
I like to hide my camera and use a remote control, because then no one knows when I'm actually imprisoning their souls in the visual plane of thought or just sitting there, waiting, and then making time stop. The printed film is like a bell used to symbolize its hour. Except it stands for both that hour's and everything's sudden stopping.
I am not going to be dictated to by the size of the camera. I use everything from an 8 x 10 to a 35-mm. But I don't use these modern cameras which break down all the time !
I don't have storyboards, but I have some very strict rules, like not moving the camera.
Live television drama was like live theater, because you moved without thinking about the camera. It followed you around. In film you have to be more aware of what the camera is doing.
Cars and cameras are the two things I let myself be materialistic about. I don't care about other stuff.
I was to be a photographer and that was that. It did everything for me. I love people. I needed the camera more than ever I would have believed.
It has a lot to do with just sort of trust in the relationship that builds between the filmmaker and the subject. There are some people who will never be relaxed in front of a camera, and in some ways that's my failing as a filmmaker to not put them at ease. It's also a function of time, and if you have that type of time.
I mean yes to act out something or take chances in the performance is one thing. But in terms of a camera, whatever's captured is captured so that's a little more daunting.
To act out something or take chances in the performance is one thing. But in terms of a camera, whatever's captured is captured so that's a little more daunting. You know you can't go back next week and fix it. Whereas in a live audience you know it's so in the moment and you just go with what's happening. First of all you never have to see it again so you don't know if you were really fulfilling it or not.
Im a techno moron. I need help just to plug in my video camera.
Democracy is born in dirt, nourished by the digging up and turning over as much of it as can be brought within reach of a television camera or subpoena.
I began working with a family camera. It was called a Kodak Autographic, which was one of those things where you flopped it open and pulled out the bellows. And I've been at it ever since - I've never stopped
One thing that is very different technically is that you don't get a lot of coverage in television. Not like you do on a film. I know we don't have time for separate set-ups, so I will design a scene where I'm hiding multiple cameras within that set-up. That way, if I don't have time to do five set-ups, I can do four cameras in one set-up. It's a different kind of approach for that. For the most part, a lot of television, in a visual sense, lacks time for the atmosphere and putting you in a place.
I feel like an artist often turns the camera on themselves and on their own families to understand who they are.
I don't like working in front of a camera.
When I first moved from photography to filmmaking, I was worried about how big I had to become. I was one person, or maybe me and an assistant, and I had these small cameras, and maybe a flash.
I love TV. I think I'd do a half-hour single-camera comedy.
There's just something about getting up, putting it out there, and getting this exchange of energy. Whether your audience is a camera lens, or live theater, or whatever it is, just putting that out there and getting it back is just an honor.
