Cameraman Quotes
The best sayings about Cameraman that you can share on Instagram, Pinterest, Facebook and other social networks!
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I've never been conscious of having any real career plan, and I do not have a wish-list of actors, directors, screenwriters, or cameramen I'm hoping to work with. Life, I feel, has a way of leading us to the right situations and people, or at least to interesting ones.
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Of course, it may be that the arts of writing and photography are antithetical. The hope and aim of a word-handler is that he maycommunicate a thought or an impression to his reader without the reader's realizing that he has been dragged through a series of hazardous or grotesque syntactical situations. In photography the goal seems to be to prove beyond a doubt that the cameraman, in his great moment of creation, was either hanging by his heels from the rafters or was wedged under the floor with his lens in a knothole.
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There are a lot of cameramen but not so many photographers. And a lot of cameramen attack from a technical approach without much imagination. They look, but they don't see.
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After the fall of the Soviet Union, if you start the clock, then 47 journalists, reporters, cameramen, photographers have been killed in Russia since the fall of communism. That makes it the third most deadly country on Earth to practice journalism. That's not a record to be proud of.
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I grew up on the sets of Bonanza and most of my (childhood) memory is (on the set of) Little House. I was actually an assistant cameraman on Highway to Heaven. So, I observed my father working for many years. He was a very giving person. I really respected the way he ran his sets. He never treated anyone differently - whether you were the guest star of the show or the grip. Everybody was treated with respect.
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As a cameraman, I was paid to stand within a few feet of Yehudi Menuhin performing. I saw Rudolph Nureyev dancing. I couldn't believe I was being paid for that.
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Justice precedes beauty. Without justice, beauty is impossible, an obscenity. And when beauty has gone, what does a cameraman do with his eye?
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Light. Light I think is knowledge. Knowledge is love. Love is freedom. Freedom is energy. Energy is all. Without light, we can't have images.
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A friend of mine - a cameraman at MTV - lost a lot of weight from cycling, and I thought Id try it, too, thinking whenever you look at a cyclist they all look super-skinny, so hey, why not? But then it turned into such a psychologically satisfying thing.
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As a director, my job is to protect. I protect scripts, actors, cameramen, designers.
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I don't think I can break down any doors, but I'm thinking, "Maybe I can be a cameraman, because I love the cameras." And the cameraman would show me how to thread the film, how to repair it, the lenses. That's when you become, like, goony goo-goo about it. You breathe and eat camera, and all of a sudden, you don't want anything else in the world. You finally know, "This is my calling." When you're passionate about something, it doesn't become work. It's art and it's fun. It's arduous, it's sweaty.
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I grew up as a cameraman, so it's much easier for me to shoot it myself. I work with an operator and a crew, but it's way easier for me to function as a cinematographer, than to have a cinematographer between me and the lens. I don't need that.
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Since a camera is something too heavy for women and initially made for men, you need a good cameraman.
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I think of the medium as a people-to-people medium, not cameraman-to-people, not direction-to-people, not writers-to-people, but people-to-peopleYou can only involve an audience with people. You can't involve them with gimmicks, with sunsets, with hand-held cameras, zoom shots, or anything else. They couldn't care less about those things. But you give them something to worry about, some person they can worry about, and care about, and you've got them, you've got them involved.
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A film just doesn't involve actors, a director and a producer, there is also the cameraman, the sound engineer, the music composer, the lyric writer. So many people come together to make a film. When we all feel satisfied with the film that we have created it's a win for all of us.
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I worked on 'Blue Peter' and 'Tonight' and lots of TV plays, filmed people like Rudolf Nureyev and Ted Heath, and ended up a senior cameraman with my own crew. I'd had my first short story published in 1947, and when my writing really started to take off I decided to go freelance, and eventually left the BBC in 1965.
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Anyone with a smart phone is a potential eyewitness cameraman capturing and transmitting stories at speeds that turn Reuter photos and traditional reporting into, well... yesterday’s news.
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The pictures are there, and you just take them.
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I found the recording sessions very freeing because you can really try things. When you're filming something, if you're improvising a film and you're wasting film and wasting a cameraman's time.
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My technicians are my most important tools. Once I establish a rapport with them, then they would understand me in my next film. I wouldn't have to train anyone new. I give a lot of respect to all my technicians, because I'm a technician too. I wouldn't be able to convey a feeling if the writer didn't write it well, and the cameraman didn't shoot it well.
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I'm not a great fan of green screen. It's not much fun for actors. It's great for directors and technical people and cameramen.
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I like to say that lighting is about taking the light away. I often like to use the shadows more than the light.
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Baseball is meant to be fun, and not all the solemn money-men in fur-collared greatcoats, not all the scruffy media cameramen and sour-faced reporters that crowd around the dugouts can quite smother the exhilarating spaciousness and grace of this impudently relaxed sport, a game of innumerable potential redemptions and curious disappointments.
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I have to have a working knowledge of light, and optics, film emulsions and their properties, and lenses, otherwise I can't create the shoots that are the vocabulary of the films. But it is not necessary for me to be a cameraman, I can hire a cameraman.
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David Fincher is probably the best comprehensive director in terms of being a manger of a process that must drive forward. He has such confident command of cinema language and visual language and script and performance. He knows more about f-stops than any cameraman, he knows more about lighting than any gaffer, he is a wonderful writer, and he can give you a good line reading. Under pressure, he is the kind of guy who you will just dive in with and trust and follow because his vision is so intense.
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A lot of the good cameraman who we used are doing television work; they're doing commercials for a lot of money. And the commercials look incredible. But what's it about? I made three major commercial campaigns. I enjoyed it, I experimented with it, and at the end of the day I felt no satisfaction. It was like having a fast food lunch.
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Italian cameramen grow up immersed in an awareness of light. It is part of their mythology.
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Often I pretended to a cameraman to know less than I did. That way I got more cooperation.
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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.
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Whether you're a cameraman or a director, you should ask yourself every now and then, 'What am I trying to do?' Be honest and keep things very simple.
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