Quotes of All Topics . Occasions . Authors
I love the industry that I'm in. I love what I do, and I've sort of grown from being an actor and being on set. I take it all in, and I talk to the grips and the Best Boys and talk to lighting guys. I talk to everybody and see what they do and pay close attention.
A whopping 89 percent of buyers start their home search online. How your house looks online is the modern equivalent of 'curb appeal.' Rent a wide-angle lens and good lighting, get rid of your clutter and post at least eight great photos to win the beauty contest.
Movies have these transcendent moments where everything is just right, from the dialogue to the music to the lighting to the narrative context; everything is just perfect, and something magical happens - the film breaks through the screen and does something to you.
When I was 11, I burned a field down by mistake. It was an empty field, probably about 10 acres in size. Me and my friend were lighting firecrackers, and we ended up burning down the entire field. We got found out, and I think I was grounded for about three months.
Across our small globe, dawn sweeps each morning, lighting cities and cottages, barrios and villages. Whoever and wherever you may be, you can step out into that morning sunrise and know, from our American example, that life does not have to be the way it is for you.
I grew up being that kid backstage doing my math homework and my father made sure I knew from everybody in the cast to the lighting people and to respect everyone in the theater and all the way down to the janitor. It's a part of my childhood. It's what I know really.
Light is one of the basic areas that will give you comfort, but it is undergoing a technological revolution in moving from conventional lighting to semiconductor-based lighting, and as it does that, it is becoming intelligent with the transition from analogue to digital.
With Comedy Central, they produced it and did everything - I just had to walk up there and tell the jokes - whereas with Netflix, I was heavily, creatively involved, from the logo to the lighting of the room to selecting the venue to selling the tickets and promoting it.
My first novel, 'Compromising Positions,' was a whodunit. The protagonist was a Long Island Jewish housewife who turns private investigator. But she was Jewish the way I was: lighting Sabbath candles but envying her Protestant and Catholic friends' December decorating options.
I do not like bad photographs. I don't like to be badly lit. There is a fashion, particularly on stage, for very 'toppy' lighting, which makes a child look 50. Ten o'clock is very good. If someone is taking a picture, you say, 'Lamps at 10 o'clock,' then everybody looks lovely.
I will always find my light. No question. And if I don't, I'll know, because my dad will be the first person to call me and say, like, 'You need to have him bring another 2K in,' and 'Why aren't you using this sort of lighting gel?' The crew guys know that it's where I grew up.
Specialization makes it easy to forget about the filth of the coal-fired power plant that is lighting this pristine computer screen, or the backbreaking labor it took to pick the strawberries for my cereal, or the misery of the hog that lived and died so I could enjoy my bacon.
I find that if I interact more, the crowd gets way more into the music. We also have a full live show happening, and I have lighting crew that travels around with me. We've got this Infinity Prism thing, which is lots of fun. It's an optical illusion device that we carry around.
I am fortunate to stay at lots of lovely hotels when I'm on tour, but my favourite hotel group in Britain is Malmaison. I recently stayed at the Malmaison in Manchester, which was pretty amazing. It had a fabulous bar and restaurants, as well as fantastic rooms with mood lighting.
A choreographer deals with the movement that you create, and with a creative director it's about the story, the stage, the lighting, the costuming, executing someone's idea, choosing how far to go or how little to go, and blending it so that you feel it, you're emotionally effected.
Filmmaking is so heavy: there are so many people and trucks and teamsters and costume people and hair people and makeup people. I try to make it light and as simple as possible. It's great for actors. It puts the story up front. It's not about shots and dollies and lighting and sets.
The biggest problem for badminton is wind direction and lighting. If those problems are not solved, it seriously impacts players' performances on the court. If a high-level player's performance is affected by these factors, they suffer setbacks and cannot be fully satisfied on the court.
I characterize myself a little bit as a reluctant filmmaker. I learned from watching my friend in college stay up late at night, at 2 A.M., just to get the lighting right, and I thought, 'You know what, if that's what it's going to be like, I think I'm just going to write,' and I did that.
I like taking different elements - clothes, shoes, lighting - and creating a total transformation. But it's never about hiding: it's about drawing something out from deep inside of me that's really true. I'm always trying really hard to tell you the truth. That's what this is all about for me.
No, don't learn at karate schools. They overcharge you for karate uniforms. They make you pay, like, fifty or seventy-five bucks just for a karate uniform, and you don't wear a uniform in everyday life, so why train in one? Most fights take place outdoors, not inside with perfect lighting and mats.
We did a student-initiated project of 'A Little Night Music', which was the first time that all of the divisions - music, dance, drama, opera - came together and put on a piece. It was a black box kind of feel. We had to get costumes that were pieced together. We had our own lighting that we finagled.
I've been performing since I was very little, about three years old. I was inspired at first by the MTV artists of the '80s and started putting on 'shows' in the apartment, most of them set to Michael Jackson's 'Bad' album. In my mind, there was a full lighting rig behind me... but it was just a couch.
One of the things that's interesting to me is I find things like caffeine and stunts actually relax me. When they're putting a bit of gel on my arm and lighting me on fire, or when I'm about to go into a high-speed car chase or rev a motorcycle up pretty fast, I find everything else around me slows down.
I remember the noise of the bells ringing at school as the effigy of Guy Fawkes we'd prepared earlier was carried out on a canvas stretcher, hoisted on to the huge bonfire and set alight. Then the revelry would begin. My school friends and I would all have sparklers we passed around, lighting one from another.
When I was studying photography, I became interested in conflict photojournalism, and that got me interested in lighting. Then I realized there was this amazing thing called cinematography where you could kind of tell more complete stories photographing for film. So I ended up going to AFI grad school for that.
If you go into a studio without a set effectively, you've got a blue screen. As a DP you have to light it of what you think it should look like. You don't have any reference of what the background looks like. You might have some concepts, but effectively you're lighting it as what you think it should look like.
People imagine that there are rituals, like lighting candles or sacrificing chickens. They really just want to know what the magic formula is for writing. I inevitably disappoint them by saying you just put your butt in the chair, and you write 500 words a day, and then you get up and repeat it the next morning.
I love playing the Hard Rocks; they've got a great stage, great lighting, great sound, and not so humongous; its more intimate, so we love playing theaters and clubs where the audience has a really good chance to see and hear the group and where the acoustics are good. I like it when we can hear what we're doing.
Back in '98 or so when I was in film school I was working on lighting for a movie in Georgia, out in the middle of nowhere at a gas station. Inside the gas station they had a bunch of old home remedies like castor oil, and one of them was a protein supplement called Beef, Iron & Wine. I just dropped the Beef part.
Since the beginning of HQ Trivia, when only 48 people logged in, the chat section was lighting up with comments such as 'This is so cool!' So, we hooked those early users with alluring graphics and sound, a fast-paced test of wits, interactivity with a live and entertaining host, and the lure of winning free money.
I'm involved in everything from highly progressive lighting systems to airline interiors. In the field of transportation I can go from the micro to the macro: architecture, transportation, industrial product design, right across the board. It's Russian dollism, because they all interrelate: one goes into the other.
Stories of all lengths and depths come from different parts of the cave. For a novel, you must lay in mental, physical and spiritual provision as for a siege or for a time of hectic explosions, while a short story is, or can be, a steady, timed flame like the lighting of a blow lamp on a building site full of dry tinder.
I'm a firm believer that lighting affects mood, and twinkly lights on strings bring something magical to occasions ranging from concerts to weddings, though I'm fond of using them as year-round home decor. There's a reason why they're sometimes called fairy lights. When the night is right, there aren't any strings at all.
For the third generation Unreal Engine, we are building two versions of every model in our game. We are building a source model with several million polygons, between 2 and 6 million polygons. We use that model for all the lighting detail on the mesh. Then we go to the in-game version, which is usually about 10,000 polygons.
Hollywood is a special place; a place filled with creative geniuses - actors, screenwriters, directors, sound engineers, computer graphics specialists, lighting experts and so on. Working together, great art happens. But in the end, all artists depend on diverse audiences who can enjoy, be inspired by and support their work.
I'm not a musical theatre person, and I never will be, especially after seeing the way it operates. It's so incredibly inefficient. It takes three weeks to effect a change. It can be a lighting change, a script change, a musical change - you have to meet with six different departments, and about a month later, it may happen.
Sometimes I take the watch, or I take the shoes, but usually the souvenir is to take the life you had with those directors, or the crew - the camera person, the lighting person. When you finish a film it's like a little death. You had a family for a bit, and you finish the movie and you probably will never see each other again.
The great thing about working in comics is that visually, you're the sole voice. You have to figure out the staging, the lighting, the composition, the character emotions, the action. You get a script, but you're trying to work it out in individual panels. It's a terrific exercise in creative thinking and creative problem-solving.
Usually I design the lighting and when I have the physical set there, I'm not good at going out loosely and saying, 'Do you what you want, give it to the editor, and he'll figure it out.' I physically then walk on with the actors and I say, 'Let's walk until you guys feel the space works for you, and tell me when all that happens.'
I'm very aware I have very young people following me - 11- and 12-year-olds. I want to do things that are aspirational, so I'm not going to pick a picture that's unattractive - even in the sense of lighting and angles - but I make sure that it's realistic. It is me, and it is my body. I wouldn't put anything out there that isn't real.
I'm the kind of person who likes to create the environment and mindset - not because I do it deliberately, but because that's how I like to live - where, from catering to makeup to hair to wardrobe, electricians, camera department lighting, sound, you know, it's our movie; we're together, and we have that camaraderie and that closeness.
The great photographers of life - like Diane Arbus and Walker Evans and Robert Frank - all must have had some special quality: a personality of nurturing and non-judgment that frees the subjects to reveal their most intimate reality. It really is what makes a great photographer, every bit as much as understanding composition and lighting.
I've seen terrorism close up, but I don't live in a state of terror at all. I'm comfortable going to the Manhattan Thanksgiving Day Parade, the tree lighting at Rockefeller Center, Times Square on New Years Eve. For perspective, the world today is a safer place than it was during the Cuban Missile Crisis, the Berlin Airlift, World War II.
Whether you make an action blockbuster or a comedy or a drama, you've got the right camera and all the right technology to do it. In games, it's not the same yet, and I would like to see technologies dealing with cameras the way we do - dealing with bouquet, dealing with performance capture, with lighting - with all this stuff the way we do.
Two subsequent incidents of import established CNN: the explosion of the space shuttle Challenger in 1986, which CNN was the only network to cover as it happened, and the 1991 Gulf War, which CNN chronicled round the clock from a proximity as irresistible as it was alarming, bomb blasts and gunfire lighting up TV screens from coast to coast.