I'm not contented to capture the world. I want to change it.
My first motion capture game was with Sony - NBA: The Life. It was very ahead of its time. Brandon Akiaten, he was the writer and director. He had a real vision of what this game was meant to be; it was a basketball game where I was the Jerry Maguire sports agent type guy. And it was great!
As the dolphin becomes just another victim of humanity's utilitarian attitudes towards the earth, it seems as though the ancient friendship between our respective species is no longer entirely reciprocal. Such exploitation is nowhere more evident than in the capture and display of cetaceans for profit. Stripped of their natural identity, deprived of their own culture and environment, the dolphin and whale incarcerated within the oceanarium not only symbolizes an abuse of that ancient relationship, but above all our estrangement from nature as a whole.
And I will capture your minds with sweet novelty. [Lat., Dulcique animos novitate tenebo.]
What is generally regarded as success - acquisition of wealth, the capture of power or social prestige - I consider the most dismal failures. I hold when it is said of a man that he has arrived, it means that he is finished - his development has stopped at that point.
The grand canyon which yawns between the writer's concept of what he wants to capture in words and what comes through is a cruel abyss.
I don't ever want to do a movie where you shoot it on a motion capture stage. I just don't like taking the reality out of it. I like being on the set in real environments. I don't like shooting on green screen. I think it gives the actors so much more to play with when there's real stuff happening on the set.
You may know the pain of possessing and dependency, reducing persons to objects, but this is not love. Love doesn't attempt to bind, ensnare, capture. It is light, free of the burden of attachments. Love asks nothing, is fulfilled in itself. When love is there, nothing remains to be done.
Invisible, repetitive, exhausting, unproductive, uncreative - these are the adjectives which most perfectly capture the nature of housework.
The camera has an uncanny ability to capture the world as it is, to seize events as they happen, and also to conjure visions of the future. But by the time the image reaches the eyes of the viewer, it belongs to the past, taking on the status of something retrieved.
Bob Hope was an entertainment colossus, shrewd and influential well beyond show business. Richard Zoglin's biography captures it all--the public and private Hope.
Writing is a marvelous adventure and very labor-intensive: those words run away and try to escape. They are very difficult to capture.
artists try to say things that can't be said. in a fragile net of words, gestures, or colors, we hope to capture a feeling; a taste; a painful longing. but the net is always too porous, and we are left with the sweet frustration of almost knowing, which is teasingly pleasurable.
Spirituality is rooted in desire. We long for something we can neither name nor describe, but which is no less real because of our inability to capture it with words.
Nantucket is a place where some kind of magic happens, it's where I met my husband 32 years ago, and we've been together since the day we met. It's the kind of place that when people come here, they think they'll be happy. I see people falling in love or recovering from some conflict here, and I wanted to capture that.
So much of the effort that goes into writing prose for me is about making sentences that capture the music that I'm hearing in my head. It takes a lot of work, writing, writing, and rewriting to get the music exactly the way you want it to be.
A reader, encountering a sentence about a barking dog, would have to dwell on why that choice was made at that moment. Everything in a novel is explicitly chosen, whereas some of what a film captures feels incidental, according to the vagaries of photography and sound recording.
Digital has really achieved a certain image quality for capture. There's also the way we view and exhibit films. It really touches all aspects of cinema.
The image isn't just created with the camera. That's just part one. The editor gets an imprint. The colorist does something to it. Visual effects does something to it. It's not just what you capture that people are going to see. The image gets made in many ways. In production and then in post.
For Twilight, I wasn't thinking it was going to be a crazy success, or anything. It had been rejected by all the major studios. Nobody wanted to make it and they didn't think it would make any money, but I read the book and I thought, "Wow, I want to capture that feeling of just being crazy in love. I wonder if I can do that in a film." That was my challenge.
I come from an era when we had to figure out how to bolt a camera to a motorcycle or an airplane or dig a hole and find a canyon deep enough to repel into it so that we can capture images that were real.
Performance capture is a genre of acting which is not going to go away, it's going to proliferate more and more. I'm passionate about it, and I love it. It's the most liberating tool an actor has, because you are not limited by your own physicality, look, or color of your eyes.
It's very difficult to have a successful series that can continue to capture and captivate an audience and keep people interested. Because the story, you've got to be able to continue to tell this story.
I can write for weeks or months sometimes and edit it down to a song. I feel like it's a piece of music that will hopefully stand the test of time and hopefully capture a moment in history if I'm doing it correctly and honestly.
There are things that happen so quickly. A better cameraman can capture them, but if the light is not bright and you hoist up your camera by the time you've dialed in your settings. There are eye blink moments where you're like "Aaahhhh, I wish," but those are too many to catalogue. Nothing really sticks out.
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