Moving Camera Quotes

#1. George Lucas wanted this moving camera for all of the photography in Star Wars. He was willing to take a risk with the concepts that I advanced with regard to ways for doing that.

John Dykstra

#2. The funny thing is that I almost find it more difficult now to take a still picture than to be behind a moving camera. I'm just so much more inspired and comfortable and confident when I have that whole operation going. I feel more connected. Snapping a moment doesn't seem relevant to me anymore.

Steven Klein

#3. I'd been trying to retire to the back of the camera for quite a few years. And then, in 1970, when I first started directing, I if I could pull this off, I can some day just move in back of the camera and stay there.

Clint Eastwood

#4. When you move the camera, or you do a shot like the crane down (in Shawshank) with them standing on the edge of the roof, then it's got to mean something. You've got to know why you're doing it; it's got to be for a reason within the story, and to further the story.

Roger Deakins

#5. Step Up doesn't have to hide anything. These are actually moves that people do. It just so happens that dancers are superheroes. People think there is a lot of wire work or camera tricks, but that's just not the case.

Stephen Boss

#6. (On Ingrid Bergman) "I didn't do anything I've never done before, but when the camera moves in on that Bergman face, and she's saying she loves you, it would make anybody feel romantic."

Humphrey Bogart

#7. Permanence can only be found in the immortality offered by the click of a camera. Like it or not, life moves on as fleetingly as the photograph is enduring.

Diane Keaton

#8. On 'Y Tu Mama Tambien,' we started exploring shots that are longer, where the camera is moving around the actors, and there are no cuts, and you feel like you're there.

Emmanuel Lubezki

#9. I think that I'm very old fashioned in terms of my film references and what appeals to me, in a way with camera moves and a depth of color to bring things to it.

Ashley Greene

#10. Musicals and horror films can be very non-verbal and very pure cinema with movement. The camera is justified in being a character. It can really move and tell a story, and literally direct you to look here or there.

Alfonso Gomez-Rejon

#11. Before the days of video village a director should stand right next to the camera, look with his naked eye and if he sees something that is real to him, he'd look up at the [camera] operator and if he gives the look to indicate he'd seen it to, then you print and you'd move on.

Matt Damon

#12. Sheridan is still there, he's the president of the Alliance, everything that was in place when the series is there is still there, we're just moving the camera over a couple of light years.

Andreas Katsulas

#13. I'm really not trying to do everything that comes to mind because that's when it can be dangerous. For instance, I believe as much as possible, how your camera moves and flies around should be limited to the physics of how you could do it in real life.

Taika Waititi

#14. It took me a long time to get comfortable with the idea of being photographed by a moving or still camera.

Cate Blanchett

#15. Motion-picture studio floors used to be all wooden and not smooth at all. This was difficult when moving a camera around on a dolly.

Desi Arnaz

#16. Pick up a camera and start shooting. You need to wade in in order to figure out how to move forward and do something concrete. I firmly believe that a lot dynamic and revolutionary work flows from those who summon all of their personal energy and just go out and make something.

Andrew Neel

#17. Suddenly this camera, this thing, allowed me to move around the world in a certain kind of way, with a certain kind of purpose. (On receiving a camera for her twenty-first birthday)

Carrie Mae Weems

#18. Nick pulled a business card out of a pocket and handed it to Elphaba. It read Nicholas Lynch, Inspector, Ministry of Magick, next to a moving image of Nick, mugging for the camera. I finally get to use my Harry Potter business cards!

Abramelin Keldor

#19. I'm not a photographer, so I didn't get into F-stops or ND filters or background, foreground, cross-light, all that stuff. But I was interested in the camera and the lenses. That's the world that I'm moving in, in terms of acting and giving a performance.

Keanu Reeves

#20. The camera's not a camera, really. It's an open door we need to walk through. It's up to us to keep moving our feet.

Joe McNally

#21. I really love modeling a lot. Once I am behind the camera and start moving, there's a kind of energy that makes me feel good. But I know I have to prepare for something else before I grow up.

Lisanne Falk

#22. Everybody is talking and everybody is trying to block things out, but eventually you just yell, "Action!," everybody starts moving, the camera starts going, and you get a take.

Craig Gillespie

#23. Once there was a man who filmed his vacation./He went flying down the river in his boat/with his video camera to his eye, making/a moving picture of the moving river/ ... [At the end of his vacation,]/With a flick of the switch, there it would be./But he would not be in it. He would never be in it.

Wendell Berry

#24. The movie is not a thing which is taken by the camera; the movie is the reality of the movie moving from reality to the camera.

Jean-Luc Godard

#25. What motivates every other decision artistically or technically is the acting. This is what motivates everything. Never can a camera move be incompatible with the emotion of the actor at that moment. The movement, the style, the atmosphere, everything is dictated by the actor.

Xavier Dolan

#26. I like the idea of having a film that is choreographic in all its aspects, not only in the dancing scenes, but also in the way the camera and the characters move in order to have that feeling that it's always musical.

Pascal Chaumeil

#27. It's pretty amazing to see a guy, while steering at the wheel, suddenly raise his little 300 dollar German camera with one hand and snap something that's on the move in front of him, and through an unwashed windshield at that. (On the road with Robert Frank, 1958)

Jack Kerouac

#28. I am a good model because I have mastered my craft. I have accepted my body, I know it well and I know how to move in front of the camera.

Crystal Renn

#29. Someone comes and drags you in front of the camera, and they're already saying, "Okay, we got it. Moving on." You get one or two takes. So it's a tough job.

Kurt Voss

#30. It had rained on some vivid green ferns in Maine and it was quite beautiful. I was moving the camera slightly and studying the ground glass. Looking at those 20 square inches, trying to find out just what were the right elements to include.

John Sexton

#31. The camera can move, you can make the shots, blah blah blah, but as long as the actors are good, you have something.

Julie Delpy