Because I come from that old-school optics environment, I know stuff about depth of field and camera movement and things that are not necessarily a part of the curriculum for people who started on a box and have never done anything that wasn't on a box. ↗
I don't like to watch playback. But being on the set, watching the way the camera is being moved and the way the light is being used, you do get an idea of it. ↗
Many times I've sat with a camera and another actor and seen all their fears and insecurities and struggles. You want to support them and help them as much as you can. ↗
I mean yes to act out something or take chances in the performance is one thing. But in terms of a camera, whatever's captured is captured so that's a little more daunting. ↗
The film camera's ability to physically move through space, not zoom through space - every time we have a video camera the movement is through zoom; every time we have a film camera it is a physical movement. ↗
There is a part of me that still wants to go out and grab a backpack and unplug - not take a cellphone or even a camera and just get out there and experience the world and travel. I have yet to do that, but someday I hope. ↗
I am intrigued enough to want to continue, and also to try and work with companies like Sony on modifying the cameras and making them more user-friendly and efficient. ↗
You can do really slow movements with it, like zooming in for a minute and a half. The audience isn't aware that the camera has moved, but there's subconscious tension there. ↗
I grew up in the business since I was three years old so I've always kind of been in front of the camera and grew up in commercials and I knew that I wanted to do it no matter what, I just loved it. ↗