I'm not like paparazzi. I never force myself on anyone. I always ask, and some places offer money. And so I try and get these photos to give you, the viewer, a real look at what I was seeing.
Even non-commercial media rely on transferring cost to users through licence fees, donations from listeners, viewers, or readers, or grants from companies and foundations that have wrestled their funds from the public in some form of earlier commercial activity.
TV acting is so extremely intimate, because of the peculiar involvement of the viewer with the completion or "closing" of the TV image, that the actor must achieve a great degree of spontaneous casualness that would be irrelevant in movie and lost on the stage. For the audience participates in the inner life of the TV actor as fully as in the outer life of the movie star. Technically, TV tends to be a close-up medium. The close-up that in the movie is used for shock is, on TV, a quite casual thing.
The one thing that seems to be consistent through all my work that I like, and I experimented a lot, is the viewer is allowed to meditate on something that normally we don't stop and stare at, whether it's people or a cactus.
I think the press has an interest in communicating to its viewers or readers, and their viewers or readers drive profit for those news organizations, so I think those news organizations have a certain bias toward their own readers. Yeah, I think they are a special interest. Of course they are.
I can't concern myself with how viewers feel.
Every network wants to capture new viewers, but that's up to the networks.
Gerry Fialka's annual PXL THIS is a reliably surprising and seductive round-up of recent work achieved with the PXL 2000 camera. This humble outdated “toy” continues to bring out the visionary child in filmmakers and viewers alike, and no one has kept the PXL flame burning longer or brighter than Gerry.
In my art and life, I really strive to reverse the old adage that what you see is what you get. If I can be Coyote and practice my sneak-up, I can engage the viewers from a distance with one image and lure them in for exposure to another layer, which changes the initial view into quite a different reality. After all, that is what ethnic culture is all about - or even an ongoing relationship. What you see on the surface is never the same again one you begin to plumb the depths.
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.
Television thus illustrates the mixed blessings of technological change in American society. It is a new medium, promising extraordinary benefits: great educational potential, a broadening of experience, enrichment of daily life, entertainment for all. But it teaches children the uses of violence, offers material consumption as the answer to life's problems, sells harmful products, habituates viewers to constant stimulation, and undermines family interaction and other forms of learning such as play and reading.
In the theater the audience is generally riveted to a single angle of observation. The movie director, though, can rapidly shift from objective to subjective--and to any number of subjective points of view--and in so doing seem to pull the audience directly inside the frame of his picture, giving the spectator the sense of experiencing an action from the viewpoint of a participant. Identification of the viewer with the film character, then, can be much more intimate than the analogous situation in the theater.
As a viewer of TV shows, I always like shows more when I just feel like the people in charge have a plan. You can just tell sometimes, 'Oh, there's a plan there. They have an idea for how this is going to unfold.'
My theme song is always: "Pay attention to your viewer. Follow them."
If the actor points a fake gun and pulls the trigger, and you have to fall to your knees, you really do have to sell it. Otherwise, it takes the viewer out of the moment.
Brad Bird is fond of saying that music is the easiest thing that can derail a film because if it slightly goes a degree off track it will take the viewer in the wrong emotional direction. To work with people who actually care about that is a good thing.
I want to remind the viewers that people like Nancy Pelosi and Barack Obama endorsed the Occupy Wall Street movement which is actually full of anarchists.
As an actor, you don't want to know the beginning and end to your character's arc. It makes it more fun. You're not playing the end. You're playing it realistically. You don't know where this character is going to go and what's going to happen to him, which just makes it more interesting for the viewers to watch. They're going on the journey with you, as the actor and the character.
I have always thought that if you can give viewers the sense of being there a story can be very compelling.
Americans, too many of them, take themselves too seriously. You're going to get rapped - by the viewers, by the sponsors and by the network brass - if you joke about doctors, lawyers, dentists, scientists, bus drivers, I don't care who. You can't make a joke about Catholics, Negroes, Jews, Italians, politicians, dogs or cats. In fact, politicians, dogs and cats are the most sacred institutions in America.
An artist can have an intention, but the viewer has their own subjective experience.
You've got to trust the ground you're standing on and the work you've done in telling your story. The goal should be to bring those thousands of people - viewers - together and make them one. When you feel that happening, it's usually in silence, not applause or laughter.
I'm fond of implied narratives, oblique angles, and leaving a little room for the viewer to finish a picture.
In fact, my entire childhood consisted of looking at photographs in which the viewer sees the ball behind the line, looking through the goal net, and the poor goalkeeper in front of the net.
I'm trying to inspire as many people as I can. I want the viewer to enjoy the art and I want the whole family to have something to react to. I hope that folks go home and do a bit of doodling and creating on their own.
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