Word: cameramen
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...made such an unfavorable impression among reporters who followed him that they began referring to him as "poor Ted Heath" while calculating the size of Wilson's victory. Late in the campaign, Heath made a painful effort to unbend a little, but even that sometimes backfired. When TV cameramen swarmed out of a campaign bus to snap Heath in the extraordinary act of kissing a child, a sudden downpour sent everyone running for cover. "If I had any doubts before," muttered one newsman, "now I know: Harold Wilson...
...such conditions, he slipped out for a few drinks ten minutes before air time. During the broadcast, Breslin forgot the punch line to an otherwise effective speech. Then Mailer, contrary to instructions, leaped out of his seat and began to roam the set while he delivered his spiel. As cameramen frantically tried to keep him in their sights, they repeatedly picked up Breslin who was rocking back and forth in his chair with his head buried in his hands...
...began, Wadleigh told his crew that when something turned them on they should stay with it. Now we know that this charmingly democratic principle wouldn't work in say, a stage production or a ballet, and there's no reason to suppose it's responsible for good movies either. Cameramen are, after all, spectators like the rest of us. When you shoot film you naturally want to have something nice and cinematic to look at as long as you're working; therefore cameramen are drawn to certain types of shots. Unfortunately, from the look of Woodstock , everyone was drawn...
John Kennedy and Lyndon Johnson spoiled news photographers assigned to the White House. Nowadays the cameramen are thinking wistfully of the good old days: of shots of John John playing under his father's desk, of a husky Kennedy in bathing trunks on a Southern California beach, of L.B.J. raising his shirt to show his surgical scar or hoisting his beagles by the ears...
Lang's presentation of social facts and events is equally direct. Lang says he tells his cameramen to give him nothing fancy, just "newsreel photography." The compositions of Fary, however, go beyond realism to present situations so explicitly that they verge on symbolic caricature, as in Eisenstein. We are repeatedly struck by shots of the raving lynch mob, Tracy, and the defendants looking into the camera. Even more powerful are the shots wherein the camera tracks right in on characters, or equivalently where characters run almost into the camera, then stop...