There's a large percentage of mobile phones that now have a camera that's with you a lot of the time, and there's a lot of interest around those cameras as a data collection mechanism.
'Old School' is so breezy it could be a late-night talk show, especially when Craig Kilborn, of 'The Late Late Show,' sidles into camera range as a particularly loathsome competitor to Mitch.
I've always had the utmost respect and awe of what the lens can do and what a director can do with just a camera move.
For my first book, 'New York,' I had one camera and two lenses. It was fotografia povera.
In the year and a half I was on SNL, I never saw anybody ad lib anything. For a very good reason - the director cut according to the script. So, if you ad libbed, you'd be off mike and off camera.
There isn't really anybody who occupies the lens to the extent that Lindsay Lohan does. Something happens when she steps in front of the camera. There is this magnetic energy.
Being out there in a high-pressure situation with a live audience and a live TV camera on you, it brings something out.
The cinema is a very truthful medium because the camera doesn't let you get away with anything. On stage, you can even loaf a little, if you're so inclined.
For the longest time, I was very conscious of the camera while doing a scene. It wouldn't seem natural. But gradually, I've become more comfortable.
Dropbox, with its emphasis on good old-fashioned hierarchies, is superb at automatically saving one original of each photo I take, whether shot with a phone or a fancy camera. No loops, no duplicates, no confusion.
When I first started directing, I could have chosen a more lucrative path, with sitcoms and things like that. But I knew enough after the experiences I had in front of the camera that I was not going to do that, because I was just going to work on my own things or work with people I respected.
I like the days when all the filmmakers had was a film roll, a camera and a gangster. The Mack Sennett comedies were all like that. They'd create little teams to go out and shoot films.
I can only speak from my own personal experience, being behind the camera and in front of it, but every magazine cover you see is completely airbrushed.
On more than one occasion, the camera has cut to me after a break as I'm still trying to swallow the last bite of cookie. Those of you who have thought to yourselves, 'That guy talks like he has marbles in his mouth,' should know that they are not marbles, but oatmeal cookies.
When I talk to the camera, mate, it's not like I'm talking to the camera, I'm talking to you because I want to whip you around and plunk you right there with me.
I suppose I'm a bit mean. My face on camera doesn't lend itself to happy nice guys. I think it's just that my bone structure looks menacing.
I was terrified of being on camera. I was worried that whatever I would say, people would assume I'm speaking for every Muslim, every Pakistani, or every Middle Eastern person. That's a lot of pressure. But it also got me excited about what could be done, because I am a representative for people who are underrepresented.
Whether I am on a stage, behind a guitar or in front of a camera, I get paid to misbehave. Fortunately, misbehaviour is something I have unlimited supply of.
The thing is that, not only do you learn so much about being in front of a camera and stuff being on 'Monday Night RAW,' but at the same time, I'm not really acting on 'Monday Night RAW.'
When I'm acting, I'm two beings. There's the one monitoring the distance between myself and the camera, making sure I hit my marks, and there is the one driven by this inner fire, this delicious fear.
