A movie contains literally tens of thousands of ideas. They're in the form of every sentence; in the performance of each line; in the design of characters, sets, and backgrounds; in the locations of the camera; in the colors, the lighting, the pacing.
And then as I frequently do, some times I'll peek out from underneath the focusing cloth and just look around the edges of the frame that I'm not seeing, see if there's something that should be adjusted in terms of changing the camera position.
I don't use film in the way that the great auteurs do. I use film, the camera, to record as effectively and as perceptive as I am able what I want to say through the actors.
You are a pest, by the very nature of that camera in your hand.
It took me a long time to get comfortable with the idea of being photographed by a moving or still camera.
The camera photographs what's there.
Normally as a director, you do look at other films and things that are relevant. But with this film, it became impossible because I became so aware of the camera placement.
My main camera is a Nikon D3. I use a French camera from the 1800s for wet plate photography, I use a Hasselblad sometimes. But to me the camera really doesn't matter that much. I don't have a preference for film or digital.
Despite the limitations of the bulky 16mm camera and 10-minute film magazines, 'The Anderson Platoon' feels as spontaneous and fresh as any films that have come out of the Afghan or Iraq wars.
The best gift I've ever gotten... My grandpa gave me a Polaroid camera when I was younger. It was awesome!
I love Polaroids and I have a Polaroid camera collection from the '50s.
I'm very heavily involved in the editorial post-production process, and the camera - it's just such a big part of my storytelling language. I like creating the tension; I like creating the emotion through the movement of my camera, or the lack of movement through my camera, depending on what fits the scene best.
Taking employment out of the country - now that's taking away jobs. These shows employ a lot of people: production, post-production, music supervisors, camera people. A hundred people or more.
The most powerful weapon in the world, as far as I'm concerned, is the camera.
My own eyes are no more than scouts on a preliminary search, for the camera's eye may entirely change my idea.
'Happy girls are the prettiest,' and to be in the camera frame makes me happy. I just want myself to keep working. I can be in front of the camera for 48 hours continuously without any breaks.
I don't get tripped up in technology. I use technology as a tool. 'Oldboy' we shot Two Pro 35mm. For 'Da Blood of Jesus,' we shot digitally. We shot the new Sony F55. It's a 4K camera.
During prom season, I travel around the country with a 20-by-24 camera - which is logistically complicated - and photograph proms. My husband made a film of it.
I spent a whole 12 years helping other people tell their stories as a publicist, so just to be able to go and write and get behind the camera, that's my thing.
After I did nine years of a television series, I didn't want to do anything really that involved going to a set and being in front of a camera for quite a while. And when I did start to want to do things, I wanted to focus more on film.
