I'm always secretly the most pleased when a show just really, really looks good and when my camera guys are really happy with the images they got.
I like the camera to be still and not very shaky and have everything happen within the frame.
I'm one of the few directors that actually shoots a lot in camera.
I used to make short films even as a kid. I used to have a camera and play around with it. So, I was always interested in the process and telling stories. I've always wanted to direct.
In silent movies, they tended to put the camera down, and everybody walked in front of it and acted, and then they all walked off. Cutting was quite infrequent.
In terms of so-called fly-on-the-wall documentaries, there's a claim that the camera is a transparent window into a pre-existing reality. What really is happening is that the film crew and the subjects are collaborating to simulate a reality in which they pretend the camera is not present.
As with instant replay, NFL Films' use of slow motion, camera angles and the narration of Facenda was not just a technical breakthrough but a conceptual breakthrough.
I've seen my fair share of drama over the years of Children In Need. I had a close brush with mortality in 2009 when a chain collapsed from the studio rigging. I was in mid-spout to camera when I heard an enormous crash behind me - a ton of steel had come hurtling down and smashed to the ground a few feet away.
I smuggled the camera, it was no problem to smuggle the camera there. And I took 60 photos, two films, during the time when there was no one in the control room, in the building.
If we take a step back and look at what Snapchat is, it all starts with the camera.
I never shot on sets, but if I was traveling somewhere or on location, I would always have my camera, and I'd always be - it's that kind of fly on the wall approach to photography, though. I don't engage the subject. I like to sneak around, skulk about in the dark.
Well, getting behind the camera is something I've always wanted to get involved with. Ever since I was doing movies like 'Zathura' I was very interested in all the different jobs on set and kind of soaking all the information up like a sponge.
On 'Rogue One,' we had these sets with tiny little buttons that would light up when you pressed them, and screens full of graphics, and it really felt like you were driving a spaceship. The level of detail; you'll be two meters away from where the action is, but there'll be a little detail there just in case the camera catches it.
With dancing, you have to know spatial movement with somebody. It is steps. It's literally steps and knowing how close to be or how far away. You have to have the beat in the right place with the camera.
I really enjoy blocking and staging. I think most of visual storytelling is camera placement and how to stage action around the camera.
I think in China they have a camera for every street corner, and if you jaywalk, they don't give you a ticket. They put you on the big TV screen to shame you.
One should really use the camera as though tomorrow you'd be stricken blind.
I feel that working with the camera and editing it is actually my strong suit.
I ended up getting to do a lot of student films - no budget: somebody just wrangled up a camera and went to shoot stuff - and it was fun. It was great.
I stumbled into this business, I didn't train for it. I yelled 'Action!' on my first two movies before the camera was turned on.
