Shawn Michaels Quotes

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.

A lot of actors just do whatever they do, and wherever the camera is, it is. They don't pay much attention, but I always did. I was always very close to the camera crew. They were my best buddies, no matter what movie or show I was doing.

I have definitely been curious and involved in the process; even as a young actor. I was always looking at where the camera was, what story it was telling. And as my experience grew, I wanted to know even more.

I think actors do make really, really wonderful directors.

When I work, I really try to get absorbed in the character. Unless I want to do something playful with the camera, I'm not too worried about where the camera is or positions.

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.

I'm very in love with the fact that the camera is revolted by acting and loves behaviour.

The storytelling in a movie is in the cut; it's in the edit. It's not an actor's job, really. Your job is such a tiny little thing, and I love the feeling of juggling or tightrope walking.

Every year or so, I try to do something; it keeps me refreshed as to what's going on in front of the lens, and I understand what the actor is going through.

I don't think it's necessary to be an actor to get great performances out of an actor. But I do think it helps me as a director because I know what I like as an actor, and I try to get that to the actors who I'm working with.

In a movie, you're raw material, just a hue of some color and the director makes the painting.

I learnt a lot about how to negotiate the camera: everyone had told me an actor doesn't really need to do anything on screen, but I realised that wasn't true. If you do nothing, it's boring.

On 'Glee,' the director can be like, 'Hey, your face is looking a little too intense here.' And they can show me the screen, and I can be like, 'I know exactly what to do here.'

Directing is very close to choreography; you deal with space, time, emotions, lighting, making beautiful images.

Nowadays you don't get to see composition in a movie because nobody ever keeps the camera still long enough to see it. Actors don't have the thrill and the power of working with space.

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

The writer of 'The Red Road,' Aaron Guzikowski, deserves the credit. The fact that the dialogue is so understated is what makes this show so appealing, especially as an actor.

That was the beginning of modern acting for me. You don't have to tell a camera everything. It gets bored if you do and wants to look elsewhere.

In TV, sometimes you get lost in the fog of the scene, and when you're working with such good actors, they can bring you into the scene.

For an actor working in television or film, I think it's important to understand how the medium works - how the camera and lenses work and how the sound and the editing works.

Chemistry exists or it doesn't, and I think casting is a very underappreciated component of filmmaking.

I don't use film in the way that the great auteurs do. I use film, the camera, to record as effectively and as perceptive as I am able what I want to say through the actors.

When you're with another actor who's also been through five hours of prosthetic makeup, and you're eating another person's neck, and fake blood is being spurted out at you for two minutes, it's incredibly fun, and you're in character for that time. You can't really believe that that's your job.

As a cinematographer or director, I'm always looking for projects that are able to say a lot with the actor's expressions.

Film's a director's medium. Stage an actor's medium.