Quotes of All Topics . Occasions . Authors
My close-up was magnificent!
A close-up on screen can say all a song can.
As a close-up magician, I was using gambling cheating techniques.
Life is a tragedy when seen in close-up, but a comedy in long-shot.
I watch my wife knitting, and it's like watching close-up magic to me.
The trick to forgetting the big picture is to look at everything close-up.
For a movie actor, the biggest challenge on TV is the number of close-up shots.
Working in film tends to isolate actors - it's your close-up; it's all about you.
When I was in the war, I was lucky that I was in a plane and never saw the carnage close-up.
I learned not to blink in a close-up or move your head at all, because if you did, they wouldn't use it.
Self-examination with a close-up mirror in an antiseptic environment is what Nine Inch Nails is based on.
The power of a close-up can be extraordinary, but you have to have actors who are able to reveal themselves.
My life had been very work-orientated, and all in close-up. Once I had the family, it went into sudden widescreen.
Planetary missions are great, but they're usually only brief snapshots of those planets and also really very close-up.
I found it more challenging to act in a small scene, especially if it has no dialogue and if it is a close-up with only expressions.
When you're shooting with long lenses, even if you're shooting a close-up, you feel the air, the distance between the camera and the subject.
Cooking for me is a way to wind down. It's different from cooking on camera, where you have to do everything twice, for a wide shot and a close-up.
I don't mind close-ups, I like them, but they're kind of forceful - you see a lot, you get a lot of information in a close-up. There's less mystery.
There is a big difference between performing in WWE before thousands of people in an arena and acting in a scene with a camera close-up on your face.
Theater's wonderful because it's visceral, and it's happening in front of you, but you never get that close. So the close-up is a great privilege of film.
Raft told me how to walk with him in a scene: We'd start off in a long shot normal, and about the time we got together in a close-up, I'd be bending my knees so I'd be shorter.
There's no continuity in videos... you can jump around all over the place. In features, you can't throw in a close-up of a musician stomping on a guitar - you have to film a scene.
You have to learn to express differently. Whenever I do TV or film, I ask if I can see the shot to see, to see if it's full body or a close-up. That helps me understand how to communicate.
For me, an aerial picture is no different than a close-up portrait. It's a question of framing and angle. Helicopters are great for that. But I've also used planes. Of course, I always have a harness.
'Play It Again Sam's opening shot is the same as 'Purple Rose's final one: a close-up of a face, rapt in a movie house. I've certainly felt that in my life. I've been known to cry watching Gene Kelly.
Everybody thinks performance capture is about thrashing around and doing a lots of movement, but it's actually about being able to contain and think and be believed in a close-up, as much as anything else.
I'm not a big fan of shooting something that looks like it could belong in any movie. I'm not a fan of, okay, 'wide shot, wide shot, medium shot, close-up, close-up - we'll figure it out in post.' I hate that.
Sometimes, I remember, for action continuity or to get all warmed up for an action scene before giving a close-up or saying a dialogue, I would do push-ups. I didn't know any other way to get my body mechanism going.
It's the most unrealistic thing you can do to shoot a close-up, and it's the most unrealistic place you can be as a performer. And yet actors grouse about having to do visual effect shots, but they love doing close-ups.
Sometimes you may even have a stunt double do certain things for you, but when it's close-up and it's really dramatic, that's when you really need to concentrate. You cannot get body doubles or anybody else to do it for you.
The nude scenes were a little eerie and I felt a bit odd. Yeah, when the camera scanned up my body, I said to my friend, 'Now, that's a close-up.' I mean, you see every inch of my body. But I'm okay with it and so it was cool.
I don't like, and I've never been very good at, close-up shots. As soon as you have the camera right there in front of you, it feels like you're in a different reality from the person you are acting with; you lose any real connection with them.
I do remember that I was sitting in the make-up chair before the shoots for a commercial or film or other, and I thought: Sometime soon they are going to make a close-up of me and millions of people can see how many pimples I've got on my cheeks.
The great part of appearing on game shows is that when you answer a question the camera takes a close-up of you every time. You get more close-ups than in a movie, and that's terrific for audience identification. The people have to see you to like you.
Rod's always opening doors for me, but I usually tell him to walk through first. Otherwise, if we're at a restaurant and I'm in front, the paparazzi end up getting a big giant close-up of me, and then he's trailing behind, looking like my little child!
I was a highlight coordinator. My job was to go in and watch games, watch and type. Basically every time the camera frame changed, I had to log it as something: 'Emmitt Smith rushed for 4 yards... Close-up of Jimmy Johnson on the sidelines... 37-yard field goal.'
Actors' performances in films are enhanced in a million different ways, down to the choice of camera shot by the director - whether it's in slow motion or whether it's quick cut - or... the choice of music behind the close-up or the costume that you're wearing or the makeup.
With 'Eagle of the Ninth,' every shot was extremely planned and organized. The director was like, 'Do this!' And I say, 'How was it?' and he says, 'Good.' It was very odd. I would never know where he was headed, or even if he was shooting me at a close-up or from a distance.
Every shot is unique, even if it's just a close-up, an insert of your hand. You've got to work with the guy behind the lens to get it right, focus in. Those are critical little nothing things, but you've got to work with the people who are trying to put it down, in order to get it.
I remember so vividly playing a scene with Jimmy Stewart. I was in the back of a covered wagon, and we were doing this little talk in the wilderness. They did his close-up first. I was looking at him and thinking, 'How does he do that?' He is not 'doing' anything, and yet everything is there.
Sometimes you will do a close-up for a scene in the morning where you are totally distraught, then shoot the rest of that scene seven hours later. How do you hang on to that feeling all day without burning up, without going so far that you have nothing left to give when the cameras roll again?
Tak Fujimoto and I, when we started getting enough of a budget where we could afford the right lenses - 'cause we started out doing low-budget pictures together - we started experimenting with this subjective camera thing. And we kind of fell in love with the idea of using that as our close-up.
Sometimes you're watching a great film actor, and if you stand 10 feet away from them, you're like, 'God, they're terrible. They're not doing anything.' And then you see the close-up, and it's so nuanced, and so much expression is happening. They were acting for that camera and for no one else.
In putting setting to work, I like to think about long shots and close-ups. The long shot is the overall view of the place in which the characters live - the island, the town, the wide sweep of place. Then we narrow in. The close-up, the tight focus, makes the place different from anywhere else.
I can work a lot faster when I'm writing a screenplay than when I'm writing a play because, if I'm having a problem with a scene or something, I can just be writing it in a way where there's no dialogue, or find a way to make sound do the work that I want to do or a close-up do the work that I need to do.
I've been doing magic since I was five years old, and when I was trying to get acting gigs, I found I could make a good living at it. It's great to kind of shake the cobwebs off and get the feeling of a live audience again. I love close-up magic, the card stuff, the coin stuff, the really up-close David Blaine stuff.
In professional wrestling, I think that they want you to be bigger than life. It's almost like an over-acting type thing - whereas on the big screen, you're 35 feet and they've got a close-up of you to put it on the screen in the movie house. At 35 feet, it's more subtlety than the overboard drama that we do in pro wrestling.