There's a whole journalistic-industrial complex dedicated to keeping newsprint, TV screens and radio waves clean of destabilizing scoops damaging to corporations or the state.
I hate myself on the screen. I want to die ... my voice is either too high or too gravelly. I want to dive under the carpet.... I'd love to be tall and willowy ... I'm short.
On the stage you try to act real. On the screen you try to be real.
I see young quarterbacks just coming into the league, and they're throwing screens and layoffs right away. As funny as this might sound, I really learned a lot by going downfield, even in tight coverage.
It's definitely hard for me watching myself on screen, it's very uncomfortable, but it's just like anything - the more you do it, the more you get used to it. When I first got out I was like, I can't look at all, it makes me sick to my stomach.
In television, images are projected at you. You are the screen. The images wrap around you. You are the vanishing point.
I guess I remembered clearest of all the early mornings, when the lake was cool and motionless, remembered how the bedroom smelled of the lumber it was made of and of the wet woods whose scent entered through the screen.
No one’s forcing you to do this. You willingly tie yourself to these leashes. And you willingly become utterly socially autistic. You no longer pick up on basic human communication clues. You’re at a table with three humans, all of whom are looking at you and trying to talk to you, and you’re staring at a screen, searching for strangers in Dubai.
There is a very particular feeling I get when I have the camera in my hand, looking at an actor talk, knowing that what I’m shooting will end up on the screen.
Before the code, women on screen took lovers, had babies out of wedlock, got rid of cheating husbands, enjoyed their sexuality, held down professional positions without apologizing for their self-sufficiency, and in general acted the way many of us think woman acted only after 1969.
I still find the best way to understand a hospitalized patient is not by staring at the computer screen but by going to see the patient; it's only at the bedside that I can figure out what is important.
I even found it difficult to watch myself playing on TV because I couldn't identify with the person on the screen. I couldn't get to grips with it. It was as if it was all happening to someone else.
When we draw on the tablet, the drawing shows up on the computer screen. If we have chosen to tell the computer that the stylist is to behave like a piece of chalk, or a pen, or a wet brush, it will.
I'm bored way too easily. I'm staring at screens half the day. I need to be overstimulated. And how will that express itself artistically?
There's a simplicity in typography that demands absolute accuracy... the only way you can experience it is by doing it, and you can't do it on a screen because a screen never gives you the entire picture.
We in politics are accustomed to seeing reality firsthand and then watching its distant cousin, events as portrayed by the media, unfold on our televisions. We know that what happened in Congress and what is reported to have taken place are two very different things. But that disjuncture, so familiar to politicians, is new to the viewing public. By seeing war and war coverage juxtaposed nightly on their screens, Americans have learned the crucial lesson: not to trust the news anchors.
The magic of myth and legend has come true in our time. One types the correct incantation on a keyboard, and a display screen comes to life, showing things that never were nor could be.... The computer resembles the magic of legend in this respect, too. If one character, one pause, of the incantation is not strictly in proper form, the magic doesn't work. Human beings are not accustomed to being perfect, and few areas of human activity demand it. Adjusting to the requirement for perfection is, I think, the most difficult part of learning to program.
You have to get rid of borders, limits, and classifications; then light comes. We see everything on the screen of our ideas. We must get rid of that screen to be able to see what is behind. X's ideas are limited, that is why he remains on the surface. Y got rid of the limits, so she always goes to the depths. We should always meet people and new subjects with no set frame of mind. We have to live like that even after long acquaintance. We must get rid of every set idea to approach everything and everyone with love.
In five years I don't think there'll be a reason to have a tablet anymore. Maybe a big screen in your workspace, but not a tablet as such. Tablets themselves are not a good business model.
For in the absence of debate unrestricted utterance leads to the degradation of opinion. By a kind of Greshams law the more rational is overcome by the less rational, and the opinions that will prevail will be those which are held most ardently by those with the most passionate will. For that reason the freedom to speak can never be maintained merely by objecting to interference with the liberty of the press, of printing, of broadcasting, of the screen. It can be maintained only by promoting debate.
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.
You need someone to tell you how to do things like hitting your marks, or driving a car so it looks right or getting out of a car so it doesn't take a million years of screen time.
I don't think I know a Scientologist except when I see one or two of their actors on the Hollywood screen.
I was so besotted with '8½' that, when it was on TV, I used to take pictures with my 35-mm. camera of the frames of the film. That was the first time I'd ever really seen Italians on screen.
The thing about movies now is in a way what it always was: The screen is huge and now the sound systems are too. And you never get that with TV. Even with a home system, it's never the same.
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