Corey Reynolds Quotes

I work primarily for the camera-it's not something I really talk about a lot, but it's part of the way I am as a movie actor. The camera is my girl, as it were.

You don't want to be the guy whose back's to the camera in the emotional part of the movie. So, you have to be aware of the camera movement and what the camera's doing.

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.

Any actor working a long time should know how a shot is set up, where to place themselves, how to handle the lines. I'm a member of the crew, like the best boy, the electrician. What I'm good at is making eyes at the camera.

Screen work always boils down to that moment between the camera and the actor or the actors. It always boils down to that, ultimately. You serve the camera.

In motion pictures, the actor rules. The camera served the actor.

I don't know how you can tell a good actor in the movies. I really don't. I think you simply just do the part and hope to God that the director has a good cutter and a good editor, and it'll all get cut and put together so that you look good in it.

When you have great performers and have set your movie in the right direction, it's a beautiful privilege to let the camera watch the action unfold without spoken words.

The power of a close-up can be extraordinary, but you have to have actors who are able to reveal themselves.

Film, television, and working with a camera is such an intimate art form that if a camera is right on you, and I've got your face filling the screen, you have to be real. If you do anything that is fake, you're not going to get away with it, because the camera is right there, and the story is being told in a very real way.

A good actor knows exactly what the camera wants, what the sound wants, where to find the light and how to tell a good through line and journey.

[While shooting close-ups] you study real eyes, you study how the light reflects in them, you study the back of the eye, you study the way irises reflect emotion. You go into great scientific detail.

I realized that my camera work could help me in a lot of ways to put the audience in the driver's seat, so to speak, to get them in there with the action, and to get them as close and be as intimate with what was going on on-screen as possible.

Movie acting is primarily listening. If you're really engaged, that's all a movie audience wants to see is you processing what's happening in your world.

There's no one more willing to do something than an actor when it comes to perfecting a scene.

In Hitchcock's eyes the movement was dramatic, not the acting. When he wanted the audience to be moved, he moved the camera. He was a subtle human being, and he was also the best director I have ever worked with.

As an actor, I've always found that my job is not to judge the content in which I've agreed to perform in. What I try to do is just find the truth in every moment that they've written.

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.

You've got a song you're singing from your gut, you want that audience to feel it in their gut. And you've got to make them think that you're one of them sitting out there with them too. They've got to be able to relate to what you're doing.

I know that if I can't move people, then I have no business being an actor.

I walk into a scene, and I do the scene. That's my job. I don't have an objective. I have the words, and I have whoever I'm playing with.

It's always weird doing love scenes. And the thing is, you can't really photograph two people kissing naturally, because then you wouldn't be able to see anything.

I totally love being on camera.

I feel every shot, every camera move, every frame, and the way you frame something and the choice of lens, I see all those things are really important on every shot.

Intimacy comes from being yourself on the stage and making the audience feel, without trying, that you're sittin' down there with 'em, playing, and that can happen in a big hall, if you have a good audience that want to listen.