Quotes of All Topics . Occasions . Authors
I started to have these ideas for films. They were like running images in my head. But I didn't think I could be a director. I just literally didn't think it was a possibility. Then I started to suddenly see films of women.
When I wrote my fictional novels, they always had a starting point of something real. Those images that are not real are exactly the same strength and power of the real ones, and the line between them is completely blurred.
I flipped through a book on harp seals in the late 1970s and saw images of them swimming in emerald green pools of water surrounded by huge sheets of ice. Right then I was hooked, and I knew this was a story I wanted to do.
In 17 years, we have built a business that has revolutionized the industry, with innovation at its core. I am confident that the partnership between Getty Images and the Carlyle Group will see the company's success continue.
They've found a way to privately, or within a small family group, share expressions, or other images, drawings, and then gain access to some of the world's great expressions and images and make them real, make them tangible.
I think there are things that digital can't do as well as print thus far. Even an iPad is only 80% the size of a standard comics page, so the images are going to be smaller. You don't get your big, whopping two-page spreads.
It's great to engage with the mainstream media to get messages out, but the most empowering tool is to create records of our lives, and our own images, which are not filtered through judgements, biases, or misunderstandings.
With high-speed cameras, we can do the opposite of time lapse. We can shoot images that are thousands of times faster than our vision. And we can see how nature's ingenious devices work, and perhaps we can even imitate them.
As with sound, images are subjective. You and I may not see the same color red as red, but we will probably agree that the image on the screen is a digital image or film image, based on contrast, bit depth, and refresh rate.
A film is a film and it has to be good to be inspired. That's number one. It can be Italian, French, German, American. It's moving images in front of you and with a strong director who injects his point of view and artistry.
I've always worked from images that already exist in our culture, and I just tweak them - I photograph my vision/interpretation of things that already exist, and I take it to the extreme. And then I make paintings or videos.
As there is no spiking-the-football exception to our open-records laws, Judicial Watch initiated a federal court battle with the administration over the release of postmortem images of bin Laden and his alleged burial at sea.
When you are dealing with two players who are almost mirror images, the contest often boils down to first-serve percentage. Who is getting more cheap points on their first serve? Who can dominate the other guy's second serve?
My dad bought me a camera, and I started taking it everywhere with me. I realised how much I was enjoying the whole process - from taking the images to editing them and developing them - and it soon became a complete passion.
When language was not transcendental enough to complete the meaning of a revelation, symbols were relied upon for heavenly teaching, and familiar images, chosen from the known, were made to mirror the unknown spiritual truth.
When we see the shadow on our images, are we seeing the time 11 minutes ago on Mars? Or are we seeing the time on Mars as observed from Earth now? It's like time travel problems in science fiction. When is now; when was then?
When we come to images or memories or thoughts, speculation, while always closely related to practice, is more explicit, and it is in fact not immediately obvious that such processes can be described in any sense as practical.
While technology efficiently delivers news stories to our desktops, laptops and mobile devices, magazines are all about context - how ideas and images are presented in relation to one another and within a larger point of view.
Traditionally, images have functioned as representations of something in the world, but we are quickly approaching the point where vast majority of images are produced for other machines, and no human being will ever see them.
All of a sudden, those few pages of script that he had shown me with the weird images I could visualize all of that in my brain, and I knew that there was this mad little genius at work here and I really wanted to do the film.
In 'Cape Fear,' all that water and the reflections and these threatening and submerged images in the water - that signals the awfulness that is to come. We're very good at awfulness. No, really, we do do some sweet titles, too.
Fiction is an elemental force, which has the power to shape reality in its own image - or images, I should say - because reality, like light, exists not only as a single point or particle, but also as an array of possibilities.
There's a pressure to conform to particular images, and it feels a pretty exclusive pool of body image or facial image that is considered appealing. And in a way, that feels like pre-judging what an audience might actually want.
We are all inundated with images that present a limited scope of what is considered beautiful. For American women, the closer she is to whiteness/paleness, cisness, thinness, and femininity, the more she is considered beautiful.
I don't digitally manipulate my images, because I am interested in the spontaneous act of creating images without forethought. I know many artists start with an idea in mind, and then they put it on paper. I don't work that way.
If someone is making a very expensive purchase decision, they typically have a lot of questions about the fit and about what to wear the item with. In some cases, they'll ask for additional images or want to contact the designer.
You want to embrace what the idea of pop music is. Not necessarily the stereotype of pop music; there was a time when you'd say 'pop music' and conjure up images of the Sweet, or Marc Bolan. That, to me, can be avant-garde still.
Retouching is an incredible tool but can also create unrealistic expectations for women who don't understand that an image is not how the subject really looks. Even the subjects themselves can't live up to their retouched images.
My true function within a society which embraces all of us is to continue an age-old tradition. This tradition is to create images from the depths of the imagination and to give them form, whether visual, intellectual or musical.
In my own work, when I start off writing a scene, I don't know which physical details are going to turn out to be meaningful. But, inevitably, certain images will stand out - you start to decide which ones are important as you go.
Popular culture isn't a freeze-frame; it is images zapping by in rapid-fire succession, which is why collage is such an effective way of representing contemporary life. The blur between images creates a kind of motion in the mind.
The images of Earth's delicate biosphere, contrasting with the sterile moonscape where the astronauts left their footsteps, have become iconic for environmentalists: these may indeed be the Apollo programme's most enduring legacy.
I love it when a photographer lets me create my own movement and feeling to the images. By that I mean he doesn't restrict me in his or her own ideas but rather gives me a direction and lets me work within those boundaries freely.
Shortly after I turned 13, Child Welfare took me into care. I was sent to a residential centre where girls with behavioural problems were 'evaluated'. My time there comes back to me now only in flashes of smells, images and sounds.
Tarots tell different sides of the various personalities that exist in all of us. I find it fascinating how they combine names, images, and numbers. You don't need to be able to read them, or know their real meaning, to be charmed.
In the 1930s, photographers such as Walker Evans and Dorothea Lange produced images of sharecroppers and Okies, which drew attention both to the conditions in which these unfortunates found themselves and to their heroic fortitude.
That is, we are bombarded by all kinds of images and influences and we have to fend some of them off if we're to take in any of them, or to carry through just our ordinary day's work, or really deepen whatever we have to do or say.
For anyone who devours the web on a daily basis, the biggest problem is too much of a good thing. There's so much extraordinary content - from articles to images, videos and Tweets - that it's almost impossible to keep track of it.
For anyone in the news business, just the name 'Cronkite' conjures up images of a bygone era when journalists covered, and could at times impact, the most important stories of the day, rather than the most 'compelling' or salacious.
The reason I got into filmmaking was super naive: to change the world, you know? To really make the voices that we don't get to hear heard and the images and the stories that we don't get to see seen. I would like to normalize that.
I have been doodling since childhood. I have a passion for illustrating but cannot paint or colour for that matter. I illustrate what I am trying to communicate through my writing. My images are like drawings in a science text book.
We've seen the kind of social impact a professional sports team has on a city. A team brings high-profile role models into your community who are healthy and they're great images for the city to gravitate toward, especially for kids.
Actually, I met a lot of directors and most of them have that fantasy to make a silent movie because for directors it's the purest way to tell a story. It's about creating images that tell a story and you don't need dialogue for that.
When you're watching a movie and find yourself getting emotional, it's because you're bringing something personal to the images. It's the same thing with acting. You're bringing the essence of your core emotional being to that moment.
It is proper to take photographs or other kinds of pictures of persons to put them before us for sight or remembrance. But it is improper to make pictures and images of God and to take his likenesses therefrom to his great distortion.
When we make the cerebral state the beginning of an action, and in no sense the condition of a perception, we place the perceived images of things outside the image of our body, and thus replace perception within the things themselves.
I'm in the early stages of a film called 'Freezing Time' about Eadweard Muybridge, the Victorian photographer who was really the forefather of cinema. Digital animators still treat his images like the Bible. He was a very obsessed man.
What I'm exploring right now is the subject of my own mortality. It's an area that I'm curious about, and I'm researching it to see if there's a photographic essay in it for me. If images don't start to come, I'll go to something else.
Looking out at the photographic landscape that surrounds us - the world of images and image-making that we inhabit - it seems obvious that photography has undergone dramatic changes in its technical, cultural, and critical composition.
When you see a superhero that looks like you and lives in and fights in a neighborhood that is sort of like yours, it's empowering to a degree that makes you have hope. That is the power of storytelling, and that is the power of images.