Fortunately, I've never been very conscious and inhibited of what I have to do. The camera's my soul mate.
Shooting on the iPhone has become more of a directors' tool to lower inhibition of first-time actors and nonprofessionals. While it's helped me become more mobile, no pun intended - running around, finding tight areas and different ways of moving the camera - to me it's more about using this device to catch candid moments. That's the biggest thing.
I love that I have no inhibitions. I like to be shameless in front of the camera.
I'm petrified of facing the camera. Even to shoot for a photograph is an ordeal. But it's important to break free of your inhibitions at some point in your life.
If you've got a camera that's two feet away from you, you have to bring it all back down. It's a lot more insular. It's different brush strokes. Whereas on stage, you're playing to people who, depending on the size of the theater, might be 40 meters away from you.
I really love sort of classical cinema where people were telling stories with very little dialogue, and people were using the camera in a really interesting way.
I accept all interpretations of my films. The only reality is before the camera. Each film I make is kind of a return to poetry for me, or at least an attempt to create a poem.
When you think about it, media's the intersection of content and technology - it's all about storytelling, like photography and the camera.
I think a lot of great male comic actors are introspective, quiet personalities, which I really admire. But they are really able to turn it up when the camera's on.
Lesson number one: Pay attention to the intrusion of the camera.
'The Martin Show,' the 'Jamie Foxx show,' 'Living Single,' 'The Wayans Brothers,' 'Hanging with Mr. Cooper...' Some of these shows were good, some were typical television, but they facilitated a lot of work for blacks in front of as well as behind the camera. A lot of us in Hollywood thought it was the beginning of a real racial breakthrough.
I'll get cast occasionally as sort of the jerk version of myself, and I have fun doing that. But it's really better for everyone if I stay behind the camera.
John Kerry was always in front of the camera but not out doing the hard work.
In September 2005, I was three things: the media blogger for 'FishbowlNY,' a maniacal Daily Show fan, and the only person to smuggle a tape recorder and camera into a big Magazine Publishers of America event featuring Jon Stewart interviewing five hotshot magazine editors in an unbelievable bloodbath.
I have a Bolex, Aaton, Arriflex, Eyemo, Filmo, Mitchell, Photosonic, Beaulieu, Keystone - just about every movie camera you can think of.
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.
In 1976, Kodak's first digital camera shot at 0.1 megapixels, weighed 3.75 pounds, and cost over $10,000.
My stepfather gave me a Kodak camera when I was 17 years old. I started working at a local photo store in Le Havre, France, taking passport pictures and photographing weddings.
I've been in beautiful landscapes where one is tempted to whip out a camera and take a picture. I've learned to resist that.
Laptops are important, but before you spend a million dollars per school providing one laptop per child... won't you please spend $5,000 per school equipping every classroom with a document camera?
