It's all about the light. Always face it, because that's how you give your face good angles. If you're outside when the sun is overhead, you're going to have dark circles from the sun creating shadows on your face. So no outdoor pictures between 12 and two!
Some people thrive under pressure, but pressure can also ruin your performance, it can push you down angles which you don't want to go.
Ultimately, we as a band just write what we write. Some of it's very serious, and even in the serious songs, there's sometimes an angle of levity. I think that's just how we communicate naturally and to shy away from that would be, first of all, boring for me, but also it wouldn't ring true to who I am or the way I relate to people or the way we relate to people as a band or the way we relate to the audience. Humor is a big part of it, but we also take our craft very seriously.
Whenever somebody says they need an angle for their story I always fear that they've got an idea and they want me to fit into it or they want me to come up with an idea myself or I'm supposed to be more revealing than I've been, and to me it just sounds like something I don't want to do.
I've obviously used fans - I wouldn't say all my life, because we couldn't afford them when I was young, but from my 20s and onwards we've had to use fans. And I've always loathed them. Everything about them. The way you adjust them, getting them at the angle you want. Carrying them. Cleaning them. The danger of putting your finger in them.
I hate watching me. I hate watching me. It just makes me feel awful. I think, 'I look stupid from that angle. I wish I didn't let them put that shirt on me.'
If you focus too much on development of the visual angle, it could be a detriment to what you're doing musically.
I made a photograph of a garden in Kyoto, the Zen garden, which is a rectangle. But a photograph taken from any one point will not show, well it shows a rectangle, but not with ninety degree angles.
The red carpet doesn't interest me. I think people become all the same; it's like everyone posing from the three-quarter angle in some low-cut, fitted dress; it's all the same.
I worked for Microsoft until 1996, till I had a different angle to view life. I wanted to be an entrepreneur and control my own destiny.
But in answer to your question about the conspiracy angle, I think that any historian worth his salt, and this is where I fault Stephen Ambrose and a lot of these guys who attack me - not all of life is a result of conspiracy by any means! Accident occurs alongside conspiracy.
The moral angle to the foreclosure crisis - and, of course, in capitalism we're not supposed to be concerned with the moral stuff, but let's mention it anyway - shows a culture that is slowly giving in to a futuristic nightmare ideology of computerized greed and unchecked financial violence.
The size of a studio film lets you see technology in a way that you wouldn't on an independent film, like the gadgets and the angles and all that.
From the political angle, I'm trying to be apolitical if you will. I mean people say, 'Are you a red state or blue state?', I say, 'I'm purple.' I think there are great ideas on both sides of the aisle and neither side has cornered the market.
What I'm trying to do is find either existing properties or come up with properties or angles or stories which will create music drama. It's my obsession and most of all I would like to remain working in theatre. I think it's very much alive.
In any war story, but especially a true one, it's difficult to separate what happened from what seemed to happen. What seems to happen becomes its own happening and has to be told that way. The angles of vision are skewed. When a booby trap explodes, you close your eyes and duck and float outside yourself. .. The pictures get jumbled, you tend to miss a lot. And then afterward, when you go to tell about it, there is always that surreal seemingness, which makes the story seem untrue, but which in fact represents the hard and exact truth as it seemed.
Maybe it was the angle, but her fawn's eyes, looking up at me, seemed larger than ever. I had to make an effort to keep my balance lest I fall into them.
Dude. Post-apocalyptic world. Who does job applications anymore?” “I do.” I squint at it, then him. “What are you paying me?” I angle. “Dude. Post-apocalyptic world. Who does money anymore.” I snicker. First sign of any sense of humor he’s shown. Then I remember where I am and why. I wad it up and throw it at him. It bounces off his chest.
If you lead a simple life, and that story is written, then that story will not satisfy. It needs an angle. Suppose there is no angle?
It's strange, the lack of emotion, the absence of drama in reality. When things happen in real life, extraordinary things, there's no music, there's no dah-dah-daaahhs. There's no close-ups. No dramatic camera angles. Nothing happens. Nothing stops, the rest of the world goes on.
Vanity, right?" Nash reappeared in the living room with an open bag of potato chips. "I nominate my venerable brother. He likes to play hero, and one look at him should establish the vanity angle." "Nash!" I really shouldn't have been surprised by the dig. But I was. "What?" He raised one brow at me in challenge. "It's okay to call me jealous, but not to call him vain?" "Awareness of one's obvious advantages doesn't imply vanity," Tod insisted calmly. Nash turned on him. "Does it imply narcissism?" Tod huffed. "This coming from the guy who owns more hair products than his girlfriend.
The mere formulation of a problem is far more essential than its solution, which may be merely a matter of mathematical or experimental skills. To raise new questions, new possibilities, to regard old problems from a new angle requires creative imagination and marks real advances in science.
Art is violent. To be decisive is violent. ... To place a chair at a partial angle on the stage destroys every other possible choice, every other option.
Everyone who has ever overcome hardship or adversity has done so in large part because he or she has chosen, consciously or unconsciously, to "let go" of their past hardship and pain by embracing, what I call, a Miracle Angle - a way of seeing their circumstances that allowed them to transform their circumstances into a spark for positive change.
The mathematician of to-day admits that he can neither square the circle, duplicate the cube or trisect the angle. May not our mechanicians, in like manner, be ultimately forced to admit that aerial flight is one of that great class of problems with which men can never cope... I do not claim that this is a necessary conclusion from any past experience. But I do think that success must await progress of a different kind from that of invention.
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