I don't pretend to make my photographs speak the truth of what Mexico is all about. But in its villages I can feel the way culture is changing, and it's fascinating to live through it and try to capture it on camera.
I am a bit evangelical, I know, but performance-capture is still misunderstood.
Choose a single, sacred word or phrase that captures something of the flavor of your intimate relationship with God. A word such as Jesus, Abba, Peace, God or a phrase such as "Abba, I belong to you." . . . Without moving your lips, repeat the sacred word inwardly, slowly, and often.
As we all know, the objective and mission of the photojournalist is to show us the reality of the world. And in order to capture that reality, they go to dangerous and tragic places at the expense of their lives. I see them as the conscience of our humanity; they represent for me what is left of our humanity.
My parents are my role models. I also love Halle Berry, Robert DeNiro, Eddie Murphy, Angela Bassett, Tom Cruise and Jennifer Lopez. When I see their work, I get engulfed in it. They really capture me.
When a certain show or film or celebrity captures the imagination of the masses that has a good deal to say about us, I think, and what is happening in our collective psyche.
In environments where corporations become too interventionist and capture regulation themselves, the government must be able to battle back so that the people have a chance.
I was interested first of all in trying to capture this myth that was always changing and to create some sort of a master story, some version of the myth that resonated with me, since I could have taken more or less any detail that I wanted or the opposite and try to put that down on the page in a way that I could express from that outset for myself and for our readers what it was that was so magical about [Buckminster] Fuller's way of putting together the world.
If I stop today at a protest and I read a speech, it is a speech that remains in that moment, and whoever captures it does, and whoever doesn't, doesn't, and just keeps walking. It is very sterile, and it can seem even inaccessible and boring for a community.
Once, I compared poetry to mothers in my book called To Write as a Woman, because my mother is someone who captures me in her body and gave birth to me out of her desire but washed her hands of me after giving birth to me as a poet.
Everyone has his own agenda, and it can overshadow the important thing, which is to capture a great performance. They listen to it and think, "Oh, I'm not mixed loud enough...I missed a note there...I'm a half-step off on the turnaround."
A form wherein we can enjoy simultaneously what is best in both the novel and the short story form. My plan was to create a book that affords readers some of the novel's long-form pleasures but that also contains the short story's ability to capture what is so difficult about being human - the brevity of our moments, their cruel irrevocability.
I can't write a lie; the world of imagination is no good. I objectively capture my own experiences and those of my friends. I want to put true feelings into words. If I make a song when I'm sad, it's a dark one, but I think that's good. No matter when I want to be true to myself.
Every design is a rigorous attempt to capture a concrete moment of a transitory image in all its nuances. The extent to which this transitory quality is captured, is reflected in the designs: the more precise they are, the more vulnerable.
The more we deploy the technologies to capture wind and solar power, the cheaper those technologies become.
I think what we tried to do lyrically, vocally and musically was to capture a sound.
I think probably underneath it all, film [Kino] has its own rhythm and its own dynamic, and we were trying to capture the movement of film and cross-reference it with music.
I mean, we were hearing music all the way through the islands. You know, we, when we visit the islands, of course since the islands have been churches have come down, there's a church every two blocks. And so there's music in all these different denominations. So we said, music's gotta play a big part of this movie [Maona] to really capture the culture.
Labels want to capture a certain market of kids and blah blah blah, and it's true, I just never think about that stuff. It's all part of a chain that's moving along, but this phase of music has to switch.
I think it's hard for an outsider to capture the flavor of a community and all its nuances, so ultimately Haitian-Americans need to start sharing intimate accounts of their stories.
The idea that because the school day is shorter or the school year is shorter than the sort of white collar workday or work year, that does not actually capture how teachers spend their time.
I am not trying to be young again. But I do feel the need to capture that energy in story form before it slips from my mind, to recount those adventures if not relive them.
Most of the people I've been fortunate enough to work with all share the same passion for creativity, for ingenuity, for playing make-believe and really just having fun. It doesn't matter if we're blowing up cars, or shooting an emotional scene in a police station, deep inside we all know our imaginations are at work, and our imaginations are manifesting into reality - at least momentarily for the cameras to capture.
I wanted to capture time through how food and I were getting along at any given moment. That necessitated writing some dark stuff, some sad stuff, and a lot of painful memories, because my life has often been dark, sad, and painful. I didn't want to sugarcoat anything.
Perhaps adding a line or two of dialogue to try to better capture an emotion. But I've found that if the story isn't there in the beginning, right from the start, I generally can't beat it into shape no matter how much rewriting I do.
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