Images Quotes
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Peter Fonda was just this clean, cookie-cutter kind of a guy. Roger Corman turned him into the motorcycle man with The Wild Angels. Jack Nicholson, all of them, they all had these images that Roger Corman fueled, and Easy Rider, it was a big surprise to understand how much creative influence Roger had. A lot of people dismiss him as just launching famous people's careers or being a penny pinching producer, but he's so much more than that.
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I have always said that archival images are images without imagination. They petrify thought and kill any power of evocation.
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The images that we see of Africa are so... that are so engrained in our minds are of this place that is terrible - like hell on earth. And that doesn't acknowledge the positive things - the many, many, many positive things - that people are doing.
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Images and music are very connected.
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My responsibility as scientist and journalist is to provide accurate information. My desire as artist is to make the images beautiful.
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Images of resentment and revenge only have us spending the precious moments of our lives imagining the 'other' as both dangerous and important!
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The fundamental issue in resolving traumatic stress is to restore the proper balance between the rational and emotional brains, so that you can feel in charge of how you respond and how you conduct your life. When we’re triggered into states of hyper- or hypoarousal, we are pushed outside our “window of tolerance”—the range of optimal functioning.4 We become reactive and disorganized; our filters stop working—sounds and lights bother us, unwanted images from the past intrude on our minds, and we panic or fly into rages. If we’re shut down, we feel numb in body and mind; our thinking becomes sluggish and we have trouble getting out of our chairs.
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. . . the mind is desperate to fix the river {of events} in place: Possessed by ideas of the past, preoccupied with images of the future, it overlooks the plain truth of the moment.
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My job is to make images and leave the decision-making and conclusion-draw ing to other people.
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We become reactive and disorganized; our filters stop working—sounds and lights bother us, unwanted images from the past intrude on our minds, and we panic or fly into rages.
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Images and physical sensations may deluge patients at this point, and the therapist must be familiar with ways to stem torrents of sensation and emotion to prevent them from becoming retraumatized by accessing the past.
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I love creating images, of course, because I'm an artist.
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Many people believe that memory works like a recording device. You just record the information, then you call it up and play it back when you want to answer questions or identify images. But decades of work in psychology has shown that this just isn't true. Our memories are constructive. They're reconstructive. Memory works a little bit more like a Wikipedia page: You can go in there and change it, but so can other people.
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I think all my pictures are ideas, and they're ideas made into images.
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In every form of art, you really want the experience of the images to transcend the medium, for the medium to disappear into the greater experience of viewing the work. So that you forget you are looking at a painting, or a photograph.
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On the stage, the characters express themselves more through words than images. So the arguments of the characters and the tension between characters - words have to be used to express that, and I love that about theater.
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The gay life is filled with as much cruelty and loneliness as the heterosexual life... I search into my dreams or desires and try to ask myself how these feelings can be made into concrete images... Are they really abnormal, or are they trying to tell us something we have repressed about ourselves, something we don't want to see, something about the darker side of the human condition itself?
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I've been creating work by silk-screening images of arms and legs and heads and objects on paper - like drawings of vegetables, guns, hats, whatever - and then also printing sheets of patterns, colorful polka dots and line drawing patterns.
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That sort of detailed filmmaking is one, hard to do and not have it be pretentious, and two, have it tell the story, which is what you're taught, that cinema is the language of images and you really should be able to make a film with no dialogue and tell a story.
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Before music videos first came out, you’d listen to a song with headphones on, sitting in a beanbag chair with your eyes closed, and you’d come up with your own visions, these things that came from within. Then all of a sudden, sometimes even the very first time you heard a song, it was with these visual images attached, and it robbed you of any form of self-expression.
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I don't come taking millions of pictures. I spend time with them and simply observe. If you wait long enough those amazing images will come.
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Diversity is crucial to art and crucial to cinema. That's a very strong European statement: All people should be able to have images of themselves.
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Images at their passionate and truthful best are as powerful as words can ever be. If they alone cannot bring change, they can at least provide and understanding mirror of man's actions, thereby sharpening human awareness and awakening conscience.
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Slowly poetry becomes visual because it paints images, but it is also musical: it unites two arts into one.
