Quotes of All Topics . Occasions . Authors
You discovered yourself and what really mattered only after you passed through the lens of the fairy tale, imposed on every human female and male alike, that someone existed out in the forest of the world for you to love and marry.
What I do is create a lens through my work that corrects my readers' cognitive dissonance and says: you will see all of it - not what you want or what makes you comfortable, but all of it. And you will not erase what displeases you.
But rather that we should lose our sense that neither can become the other, that the traditional novel form continues to enlarge our experience in those very areas where the wide-angle lense and the Cinerama screen tend to narrow it.
When I was in Vietnam with Jane Fonda, I was shooting a farmer in a field - just a pastoral scene. And while I was shooting him, an explosion occurred right - he blew up right in my lens, so to speak. And he had stepped on a landmine.
It was an idea we had when Al was in the Senate - to organize and moderate an annual conference that would look at government policy through the lens of the family to help identify ways that the family can be supported and strengthened.
Everything at Apple can be best understood through the lens of designing. Whether it's designing the look and feel of the user experience, or the industrial design, or the system design, and even things like how the boards were laid out.
You see the world, you end up in jail three or four times, you accumulate experience. And it gives you something to say. If you don't have anything to say then you shouldn't be making films. It's nothing to do with what lens you're using.
I think a lot of the time these days people are so concerned about having the right camera and the right film and the right lenses and all the special effects that go along with it, even the computer, that they're missing the key element.
If you go to my shows, 90 percent of my fans are females between the ages of eleven and eighteen. People look at me like a living mannequin; all of these girls want pink hair. They want the cool makeup and contact lenses and cool clothes.
If you're asking whether I intentionally mess up my hair, no, I don't. And certain things, like my freckles, they're just there. I don't do anything consciously. I suppose I could get contact lenses. I suppose I could comb my hair more often.
But whether you stay or go, the critical decision you can make is to stop letting your partner distort the lens of your life, always forcing his way into the center of the picture. You deserve to have your life be about you; you are worth it.
I'm a natural behind the camera... My attentions are more toward behind the scenes, more toward creating, producing, and directing what's going on here... When I finally do pop in front of the lens, I'm genuinely glad and relieved to be there.
I grew up as a cameraman, so it's much easier for me to shoot it myself. I work with an operator and a crew, but it's way easier for me to function as a cinematographer, than to have a cinematographer between me and the lens. I don't need that.
The advantage of the Genesis is that it's a rock-solid camera, made by a company with an enormous history and a huge support base. Plus, it's very good in low light using all the Panavision lenses. The downside is that you're recording on tape.
To me, wearing glasses is no pleasure, but once I conceded that I simply couldn't properly judge distance without them, I began to experiment. I tried glasses and found them uncomfortable. I switched to contact lenses, and they also bothered me.
The # zodiac sign on the # Ascendant normally tells us much concerning the dharma of the individual - that is, the central potentiality which the person should seek consciously to actualize as a vessel or lens through which the Divine may act.
I think that a lot of players and a lot of teams don't think of contact lenses as being a part of that essential gear but it truly is. You want every competitive advantage you can find and obviously having great vision is one of those advantages.
If you look at yourself and life through the lens of your ego, you'll feel isolated, ganged up on, alone, dfferent, and not part of the crowd. If you look through the lens of Spirit, knowing we're all one, you'll always feel safe, secure, ad loved.
The horrors have made the legend of Mandelstam and are inevitably the lens through which we read his work and life. But if there had been no Stalin and no purge, Mandelstam still would have been a poet of severe emotional and existential extremity.
My lip curls in a snide reflex whenever I hear that a new novel is written from the point of view of a child or a monster, a lunatic or an animal. I immediately expect a nasty coyness of tone, cheesy artifice, the world through cardboard 3-D lenses.
I have to have a working knowledge of light, and optics, film emulsions and their properties, and lenses, otherwise I can't create the shoots that are the vocabulary of the films. But it is not necessary for me to be a cameraman, I can hire a cameraman.
Because I am a horrible flincher, contact lenses are not an option. I'm always envious of contact-wearers. There are endless reasons to take off one's glasses during the day and, as I have grown older, what I don't see has become increasingly pronounced.
National diplomacy strategies are usually focused on promoting one's interests against others' interests. By emphasizing the global 'we' rather than the national 'I' in the climate change debate, COP 21 proved to be a case in point for a change of lenses.
I'm not a photographer, so I didn't get into F-stops or ND filters or background, foreground, cross-light, all that stuff. But I was interested in the camera and the lenses. That's the world that I'm moving in, in terms of acting and giving a performance.
A visual understanding of great composition and how to use a camera and expensive lenses can be learned, but drive and a real hunger for making photos and telling stories... I don't think that part can be learned. You either have that inside, or you don't.
Usually you talk about directors in terms of the way they choose camera lenses or a kind of light to create a certain effect. But to me the most valuable commodity for a movie to create is a feeling of life, and that's what A Hard Day's Night has in spades.
I remember thinking when I set out to direct my movie that it was all about lenses and the shots you were going to get. Really, directing is about tapping into what makes us the most human, telling stories, emotions, and managing a group of empathetic people.
The photographer proceeds, via the intermediary of the lens, to a point where he literally takes a luminous imprint, a cast... [But] the cinema realizes the paradox of moulding itself on the time of the object and of taking the imprint of its duration as well.
If a medium is representational by nature of the realistic image formed by a lens, I see no reason why we should stand on our heads to distort that function. On the contrary, we should take hold of that very quality, make use of it, and explore it to the fullest.
The world can only appear monochromatic to those who persist in interpreting what they experience through the lens of a single cultural paradigm, their own. For those with the eyes to see and the heart to feel, it remains a rich and complex topography of the spirit.
This is not a matter of virtue-it's a matter of my choosing to do the work of somehow altering or getting free of my natural, hard-wired default-setting, which is to be deeply and literally self-centered, and to see and interpret everything through this lens of self.
This whole business of all these lenses is ridiculous. You know, it's like you have to capture your picture. You have to create it. You have to see it. You have to seize it and you have to move in to get it, so those lenses are just an escape of some sort or a shield.
I feel like I'm at a place in my life where I'm really strangely happy, and in awe of how great the world can be, and I think that's because I have gone through periods of looking at the world through a really melancholy lenses. It's all just flip sides of the same coin.
I have always loved fashion, trends, style, make-up and hair, but yes, some sort of a transformation truly happens when I play a 'bahu'. That's when I have to wear brown lenses to cover my green eyes, colour my hair dark, wear saris, and surprise myself that I can pull this off, too.
Time is the very lens through which ye see - small and clear, as men see through the wrong end of a telescope - something that would otherwise be too big for ye to see at all. That thing is Freedom: the gift whereby ye most resemble your Maker and are yourselves parts of eternal reality.
In front of the camera and in front of the lens, there's no lawsuits, there's no agent, and there's most frequently no time limits... There's a longevity that's kind of built into it. I spend most of my time behind the scenes, and when it is time to perform, I'm genuinely delighted to do it.
In our efforts to get human beings empirically into focus in ethics, we have a standing obligation not only to revisit and, if necessary, rework our conception of human importance, but also to ensure that our best conception is indeed the lens through which we look at our fellow human beings.
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.
The more money you get, the bigger target you become. That's true. It's sad but it's true that you have to be aware of every person that comes to you with the next greatest deal. You just have to look at every single person with a fine lens. That's the way my life is going to be from here on out.
Of course, the camera is a far more objective and trustworthy witness than a human being. We know that a Brueghel or Goya or James Ensor can have visions or hallucinations, but it is generally admitted that a camera can photograph only what is actually there, standing in the real world before its lens.
We have two boys, and one of our kids is much more interested in history and stories, so if you want him to do some calculations about lenses, you would start talking to him about Galileo... Then he would be into the lenses, but if you just start talking to him about lenses, he might not stay with you.
Photography is a life of learning. That's all I want from photography. I don't want the money. I don't need the fame. I don't need the admiration. I'd like all of those things, but I don't need them. Because what I get from photographing is learning. I have spent my life learning by looking through a lens.
For me, vision is just about the most important thing. So goggles play a huge role in my sport. I come to the competition with a bunch of different goggles and tons of different lenses in multiple tints. The weather can always be changing, and you have to have the right thing to make sure you can see perfectly.
I'm educating myself more about world poetry. I know a lot about contemporary American poetry, so I felt I needed to learn more about figures like Borges, Akhmatova, Neruda, etc. I felt I needed a bigger lens to see poetry through. It really helps to see poetry as a world language, and not just something American.
I could only shoot when the subway was on the other platform. Little things like that, and the platform is very narrow. It's not like you can hide if a subway comes so a lot of things happened because of that. Or a thousand people just came and looked straight into the lens like they didn't expect a movie to be shooting.
At 3-D Imax theaters, audiences have shown they are willing to pay a premium to wear headgear fitted with liquid-crystal lenses synchronized via infrared signals with the movie projector, which runs at twice the normal frame rate. These movie viewers plumb new depths in depth perception - they experience extreme realism.
When I was in film school I had this great professor, Jerzy Antczak, a Polish filmmaker, and Joe Russo of the Russo Brothers were in my class. It was this kind of Easter European philosophy of motivating camera only through character and motions, and just exploring with lenses. That was the best year of my education in my life.
I used to be really fat, but now I'm not. I used to have hair, but now I don't. I used to be able to see without corrective lenses, but now I can't. One of these this is exacerbated by the fact that I'm an editor. One of these things is true despite the fact that I'm an editor. One of them has nothing to do with me being an editor.
Sometimes when you're making a film and something happens during a scene that you've just thought of, it can be missed if the wrong lens is on or if you're shooting in the wrong direction but this [performance capture] doesn't miss a thing. So, you might do something that's genius - very rarely, admittedly - but it doesn't miss it.
Remember the movie 'The Matrix,' where virtual information popped up to help inform physical day-to-day reality? Such things won't always be the stuff of Hollywood. If the Internet is accessible via contact lenses, biographies will appear next to the faces of the people we talk to, and we will see subtitles if they speak a foreign language.