Images Quotes

I know there are thousands of images of me.

Film provides an opportunity to marry the power of ideas with the power of images.

There are so many images pushed at women and so many ideas of what you're supposed to be. I think there's too much of this superwoman, this woman with a bottom like two billiard balls. There's no real celebration of just being a person.

I try to give the media as many confusing images as I can to retain my freedom. What's real is for my children and the people I live with.

The essence of cinema is editing. It's the combination of what can be extraordinary images of people during emotional moments, or images in a general sense, put together in a kind of alchemy.

All you see on television are debased images.

The most ordinary word, when put into place, suddenly acquires brilliance. That is the brilliance with which your images must shine.

Once the object has been constructed, I have a tendency to discover in it, transformed and displaced, images, impressions, facts which have deeply moved me.

Sometimes when I write lyrics there are images in them, usually on a quite simplistic level, like colors. But most often music comes first and then later I sit down with visual people and we chat about what we want to do. I don't look at myself as a visual artist. I make music.

Walt put everything he knew about communication with images into the park, so it was very familiar.

My painting is visible images which conceal nothing... they evoke mystery and indeed when one sees one of my pictures, one asks oneself this simple question 'What does that mean'? It does not mean anything, because mystery means nothing either, it is unknowable.

Others are keen to see if natives other than us live better than we do, without heat in pipes, ice in boxes, sunshine in bulbs, music on disks, or images gliding over a pale screen.

Both expectations and memories are more than mere images founded on previous experience.

Anticipation of movement, through muscular innervation and memory, by its retention of nerve impulse images, extend the present to the limit of a second or so.

In an age of synthetic images and synthetic emotions, the chances of an accidental encounter with reality are remote indeed.

Human beings are creators, flinging powerful images into the minds of their fellow men. And all of these images are built of tiny particles of thought.

I write scripts to serve as skeletons awaiting the flesh and sinew of images.

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.

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.

We're always bombarded with images from magazines of what looks cool and sexy.

This is a career about images. It's celluloid; they last for ever. I'm a black woman from America. My people were slaves in America, and even though we're free on paper and in law, I'm not going to allow you to enslave me on film, in celluloid, for all to see.

The challenge to me as a director was for the audience to see the film as going on in a straight line, so that they did not sense all of these break-ups. I did not want a film to be a collage of all these images.

Both within the family and without, our sisters hold up our mirrors: our images of who we are and of who we can dare to be.

In the next couple of years, part of every film's process is going to be to adjust the images. And it'll be to change the color of an actor's tie or change the little smirky thing he's doing with his mouth. Or you can put in more clouds or move the tree a little bit.

I'm not a lyric writer to make statements. What I enjoy doing is making paintings with lyrics, creating colorful images. I think that's more what entertainment and music should be.

I give the spectator the possibility of participating. The audience completes the film by thinking about it; those who watch must not be just consumers ingesting spoon-fed images.

The reason that I keep writing is that all my most powerful messages about the fates of wild places that I care about need to have words as well as images.

I knew exactly how I wanted it to play, but you are never sure until you watch the projected images reflect off the screen. That's when you know it worked.

Whoever controls the media, the images, controls the culture.

It was just like a digital fixation with cards and math and science and then I started to look at images of great magicians from Houdini down the line.