Picture Quotes
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We've seen the uproars around the world concerning cartoons depicting the prophet Mohammad. Anyone who does not think comic strips are relevant never had a fatwa put on him/her for drawing a picture.
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Whatever I'm thinking about has got to fit into thirty-two pages, the standard picture book size. So that's something. But the structure and the form for me are almost the most important, because these will express as much as words and images will the content of the work.
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I think beauty comes from within, and society paints a ridiculous picture.
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My father was a picture of courage in terms of his war service and strength, and yet in his decline, I learned primarily negative lessons. I learned what not to do.
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I could develop a picture by the time I was 12.
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Being a photographer is like listening to music. If you have a camera, by just living your life you're bound to find some things that are worth taking a picture of. You don't have to be an audiophile to have taste in music. It happens through osmosis.
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Slowly but surely I began to see the pattern of questions: from questions that Mr.Gilmer did not deem sufficiently irrelevant or immaterial to object to, Atticus was quietly building up before the jury the picture of the Ewell's home life.
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I was walking around with the babies so much that when I got to the Sidney Lumet picture, I would be on set in between takes and I'd be rocking back and forth. Just standing like this rocking back and forth, and Sidney would say, Why are you walking like that in between takes?
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My claim to fame has always been that iconic picture that ended up in 'The San Francisco Chronicle' of Bill Russell jumping over my head.
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Professional people make everything look perfect, they make everything that you're wearing look great, if it's in a picture or on the runway.
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It's not fair that our name can be used in any newspaper, any article connected with anything, and we can't really fight about it. It's like any newspaper that might take a picture of you, bad or good, and sometimes they're awful pictures, and they can use them without your approval and you can't do anything about it.
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I happen to be extremely left-brained; my instinct is to draw a chart rather than a picture.
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I just walk around, observing the subject from various angles until the picture elements arrange themselves into a composition that pleases my eye.
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On the day Kazan showed me the completed picture I was so depressed by my performance that I got up and left the screening room.
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Motion picture making is a very, very involved affair. It is completely my baby. I'm a thorough professional. I plan films right from the conception of an idea to its final execution.
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When you go to take someone's picture, the first thing they say is, what you want me to do? Everyone is very awkward.
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'Ugly Betty' has been four years of my life, important adolescent years. I think that all I've really known was getting pampered and interviewed and getting my picture taken.
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I had fallen in love with photography and was making a living doing photographic features for publications such as 'Picture Post,' 'Paris Match' and 'Life' magazine. But in 1939, I saw a huge headline, which I think was in the 'Sunday Express.' It said, 'Danzig - Danger Point of Europe.' I packed up my Leica, got on a train, and went.
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I know I didn't like that dress 'cause it didn't fit but I thought it was a great picture. We weren't the first band to do a picture in drag; The Rolling Stones were. If it was good enough for them then it had to be good enough for us.
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Lots of people want to have written; they don't want to write. In other words, they want to see their name on the front cover of a book and their grinning picture on the back. But this is what comes at the end of a job, not at the beginning.
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We live in capitalism, and capitalism is defined by the production line, and the production line is defined by specificity. If you see yourself as an artist, which I do, then you can't be limited by that. You can't let somebody tell you, 'Well, you can only draw this kind of picture or write that kind of book.'
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The creative process lies not in imitating, but in paralleling nature - translating the impulse received from nature into the medium of expression, thus vitalizing this medium. The picture should be alive, the statue should be alive, and every work of art should be alive.
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Every picture shows a spot with which the artist has fallen in love.
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I traveled to Morocco once, and I only saw one television when I was there, but I did go into this dirt cave and I saw this kid chopping tomatoes and pita, and he had a picture on the wall of Jean-Claude Van Damme holding a gun. That connected with him on the other side of the world, so no wonder these big movies are made - they have a mass appeal.
