Film and theater are about misdirection and making the audience see something. I find it interesting. One of the things we do in 'True Blood' is shoot all of our stunts in camera. Instead of doing some kind of visual effect, we try to make it happen.
On stage you can get away with a lot more in the sense of emotion and truthfulness. But the camera is the eye of God. It sees everything.
A lot of directors in my experience are very receptive. They see what you do first, and then they want to find a place to put the camera, and they tweak you here and there.
Wrestling has to be more aggressive. It has to be bigger; it has to translate to the back of a football stadium. With acting, when that camera is up close, they can see your nose hairs twitch, and you have to pull back everything for it not to look clownish. There is that different mindset.
Twitch is a platform. Switch it on, and you'll find thousands of channels of pure gameplay rolling around with people talking in the background. Dig a little deeper, and you'll also find people talking on camera, with sets built like an actual talk show, and schedules of events posted at the bottom of the web page.
'Devdas' isn't a real film. It isn't in the same genre as Mira Nair's 'Monsoon Wedding,' where the camera's presence is so understated it almost disappears.
Hugh Grant does a great job with his style. Somehow understated yet timeless and seems to get it. He does it on and off camera.
I love the idea I can go off with a single camera and a few rolls of film unencumbered... I was not interested in the illusion of reality, I wanted to get close to what was happening.
Everywhere you go you hear things that are untrue. You've just got to learn that if I don't say it, physically out of my mouth, on camera, it's not true.
Yes, I got my first Bolex camera a few weeks after being dropped in New York by the United Nations Refugee Organization. That was on October 29th, 1949. With my brother Adolfas, we wanted to make a film about displaced persons, how one feels being uprooted from one's home.
I've been a big fan always of getting my camera in different places and trying to seek the unusual vantage point.
I often wonder when I make a film - I'm thinking of making a film of the Buddha - and I often wonder: If Buddha had all the elements that are given to a director - if he had music, if he had visuals, if he had a video camera - would we get Buddhism better?
With the fight scenes, they would take a video camera and shoot alongside the camera so we would piece it together on the computer and had an extremely rough cut of what we were doing.
I moved to California when I was twelve and I got a video camera and made little movies because I didn't have any friends yet. I would force my sister to make these movies with me - which became my YouTube channel.
I don't have a typical filmmaker background. I didn't grow up with a super eight camera or a video camera. I didn't start cutting movies when I was four or five.
Now everybody's got a video camera, so go make videos with your friends or see if you can get a part in a film school thing that's being done.
I went on a cross-country trip with three buddies to find out what our generation is about. I bought a video camera, started shooting, learned as I went, and ended up with 'Our Time,' a feature-length documentary about what it's like to be young in America. I was hooked.
If there were teenagers who had a video camera and saw what I did on a daily basis, they'd be bored out of their mind.
Warhol was the ultimate voyeur, constantly observing people through the lens. He watched and listened, but did not participate. Behind the camera, Warhol was in control.
I did a dance with Fred Astaire in the movie 'Bandwagon.' I got to waltz just from left of camera to right of camera, and I'm taller than Fred Astaire. Fortunately, I was wearing a long skirt, so I waltzed with bended knees.
