A lot of cable television is shot on a single camera. Our eyes are more trained to that. It takes the camera off the crane, away from observing the action, to becoming a character in the story along with everyone else. People are getting used to that.
I don't want to expose my personal life. It's best that people know me for my work. My family doesn't want to be surrounded by cameras. We want to live like any other family.
Harry S. Truman had his moods. His birthplace is the only tourist attraction in America where you don't see Japanese with cameras.
A visual understanding of great composition and how to use a camera and expensive lenses can be learned, but drive and a real hunger for making photos and telling stories... I don't think that part can be learned. You either have that inside, or you don't.
With the work that I do as a director, I've got dialogue, camera movement, and character blocking to help create a tone to the piece. In photography, those elements are somewhat void so that tone becomes a bit more subtle but still equally important.
The mindset that I have on every project I take on is, 'How do I make this interesting enough for me to want to stop and look at it?' So in that regard, what I do behind the camera, whether it's still or motion picture, is the same.
I'll get cast occasionally as sort of the jerk version of myself, and I have fun doing that. But it's really better for everyone if I stay behind the camera.
I grew up in the '60s, which was a creative time, so it wasn't that big of a stretch to go from a baseball bat to a guitar to a film camera.
It's scary to work with family, alongside my brothers and uncle. I can't imagine myself screaming at them even in front of the camera.
The incredible cinematography makes 'A Walk to Beautiful' almost like a poem; there is a tenderness on display that seems to emanate from the camera. There is also great sensitivity to the women whose stories are being told - never did I have a sense of the subjects being exploited.