I never expected that. I didn’t aim for that. All I wanted was to get some nice pictures of trains at night.
My pictures are airbrushed.
I chose makeup over photography because there was something very sensual about makeup that I loved. But photography was always in the back of my mind. That was always something that I was very connected with: looking at magazines, enjoying photography, and then taking pictures myself when I was a kid.
We had many books and pictures… my parents’ way of life doubtless left a lasting impression on me. They created an atmosphere in which a certain kind of freedom could exist. This may well account for my seeking a related sense of liberty as I grew up.
I’m a storyteller – that’s the chief function of a director. And they’re moving pictures, let’s make ’em move!
I do all my speeches in pictures. If I wrote words, I’d get locked in on them.
I like Instagram – I love pictures, I just don’t take them very often.
I’m even embarrassed at times when my friends come upon my pictures.
I just love taking pictures.
I enjoy doing my more intimate and less commercial pictures and also I enjoy directing.
When I did that first movie, it was the introduction to all the set-up time and the waiting time that’s endemic in motion pictures, and the repetition.
I’ve always tried to do pictures that don’t date.
The trailblazers are my role models in this industry: Sidney Poitier, Harry Belafonte, James Earl Jones, and Billy Dee Williams. I keep their pictures in my trailer and try to measure to their standards every time I act.
I think Ingmar Bergman, Francoise Truffaut – all these people created images in my mind, beautiful pictures, I loved what was known at that time as the foreign film.
It would have been more logical if silent pictures had grown out of the talkies instead of the other way around.
It’s not a natural translation, transition, to take something from stage to screen. Onstage your action is communicated through the spoken word primarily, and on screen it’s communicated through pictures. So it’s always been kind of unnatural to take something that lives on the stage and turn it into moving pictures.
I grew up in the prolonged survival of the great age of the horse, with harness and saddle and sleigh bells and horse pictures, not as antiques but the facts of our lives.
You earn very little money on independent films and I’m the provider for my home, so I do have to think of taking one for the accountant time and again and that means studio pictures.
I don’t think that I’m over his influence but they probably don’t look like Picassos; Picasso himself would probably have thrown up looking at my pictures.
A lot of dumb pictures have made a lot of money, but that doesn’t mean they’re going to be anything cinema students will revel over in the future.
I’m really looking forward to playing in Copenhagen again. Last time I stayed as long as I could, took pictures, signed autographs, and hung out until they through me out of the place!
I think that now that we are seeing multimedia types of productions with videos and pictures and human beings performing the acts that animals used to perform, such as in Cirque du Soleil and other traveling troops, there is no need to parade animals around anymore in cages for personal gratification.
So I think I’ll say the obvious thing: theater is ephemeral. When a production is done, it’s gone forever. You can take pictures of it. You can make a film of it. But it’s not the production. It’s not the same thing.
My thought has been shaped by books; my desires by pictures.
When I made ‘Who Needs Pictures,’ my first album, I had been west of the Mississippi River one time in my life, and that was in fourth grade. We traveled to California for vacation and stayed with some friends of my parents. It was culture shock, and it was different.
Language for me narrates the pictures in my mind. When I work on designing livestock equipment I can test run that equipment in my head like 3-D virtual reality. In fact, when I was in college I used to think that everybody was able to do that.
Whoever wants to know something about me – as an artist which alone is significant – they should look attentively at my pictures and there seek to recognise what I am and what I want.
In motion pictures, the actor rules. The camera served the actor.
I don’t think in words; I think in pictures, in images.
If you live in Israel and you see the way life is there and then you go abroad and see the way Israel is reported on, the way that Israel gets reported on night after night is simply pictures of bombings or military actions.
I usually just go on Google and spend my hours just Googling Jennifer Beals. I think it’s possible that I have a slightly unordinary obsession with her. YouTube videos. Interviews with her. Pictures I put on my desktop and my phone.
As long as my pictures go into theaters and we ask people to pay to see what I do on the screen, I should not object if customers want to know what kind of man I am.
A half dozen pictures would just about be enough for the life of an artist, for my life.
At first, I see pictures of a story in my mind. Then creating the story comes from asking questions of myself. I guess you might call it the ‘what if – what then’ approach to writing and illustration.
I don’t want the pictures to mean things. But the implication of the image and its relationship to the people that are viewing it is something I’m really interested in.
I’m into horror pictures because I love the fear of being alone in the dark, and I’d recommend that to any composer who wants to work in this genre.
It was 1966 by the time I started taking pictures seriously and books, newspapers and magazines of the time were full of great pictures that helped to inspire me.
Vintage rock T-shirts are the best. I have about 50 or 60, most bought on eBay for a few pounds. You can always tell which ones are genuine because there’ll be lots of pictures showing you the holes.
What excites me about picture books is the gap between pictures and words. Sometimes the pictures can tell a slightly different story or tell more about the story, about how someone is thinking or feeling.
Tak Fujimoto and I, when we started getting enough of a budget where we could afford the right lenses – ’cause we started out doing low-budget pictures together – we started experimenting with this subjective camera thing. And we kind of fell in love with the idea of using that as our close-up.
I’m motivated every second by my work; it doesn’t switch off. The pictures I make come from every blink of my lashes.
First, the newcomers are eager to come in front of the camera, and later they are like, ‘No, sorry, sorry, no pictures’. What is this? I say fame is a very dangerous and bitter thing.
He was so excited. He cut out pictures of these landscapes and neighborhoods and kind of really tried to give you a feel of the movie. It was kind of cute but at the same time it really showed his enthusiasm for it.
I’ve been drawing authors and politicians for newspapers for many years. I try to read up on the person; in the case of authors, read one of their books. I watch interviews via YouTube and collect pictures via the Internet.
I’ve always said the bass just happens to be the crayon I picked out of the box. I’d still be drawing the same pictures… should I have picked trumpet or accordion or guitar, whatever it may be. The sounds in my head are still the same.
You gotta understand, you can’t look at no pictures and look at the media and the critics and what they saying on no Internet.
People don’t realize that one picture for you is just one picture. But for me, I take a thousand pictures a day. That adds up. It’s tough getting somewhere on time when you have to stop that much.
I went around the corner to motion pictures.
Unfortunately, I’m not one of those people who take pictures, you know, carry a camera. Because if I did I’d have stack’s and stack’s and stack’s of different act’s. I got a lot here – I know what I done.
What critics call dirty in our pictures, they call lusty in foreign films.
People are following me because they want to see pictures of me. So why is Instagram editing them?
I’m not an expert when it comes to technology, but what changed things for me was autofocus. I used to have to throw away half my pictures because it was so difficult to get the focus right.
I have been a stalwart advocate for the legacy of Charles White. I have said it so often, it could go without saying. I have always believed that his work should be seen wherever great pictures are collected and made available to art-loving audiences.
One of the great things about being a writer/journalist is that my boss loves me to go out and do features on being someone else. I did a feature on Kate Middleton, where I went to an incredible fancy state home in the countryside, put on a wedding dress and posed for engagement pictures with a fake Prince William.
It’s odd, because I used to see pictures, on telly or wherever, of what I now know to be Shaftesbury Avenue and I used to wonder what that amazing street with all the lights was. Well, now I know. I think when you get a wee taste of something, it maybe isn’t what you thought it was.
