Television, they say, will permit a person to be entertained at home, without the effort of going to a picture house, without the trouble of booking seats, without the presence of other people.
I've never had any delusions about being a leading man, and it's not sour grapes to say that in the best films that I've always enjoyed, the cliched leading man type isn't a part of the picture.
To me, the main and most exciting thing about photography is to meet people. The picture is the result of what happened between me and them on the set.
Right now, I love the fact that I have so many opportunities, but I know this privileged position cannot last. That doesn't mean that I'll stop working. I picture myself as an old actress doing cameos in films with people saying: 'Isn't that that Bening woman?'
I think what was frustrating to see a lot of good people go. You don't picture it, you don't imagine it, don't think it could happen. When it does, you are puzzled.
Vigorous enforcement of copyrights themselves is an important part of the picture. But I don't think that expanding the legal definition of copyright outside of actual copyright infringement is the right move.
When I sit down to make a sketch from nature, the first thing I try to do is to forget that I have ever seen a picture.
Vision - It reaches beyond the thing that is, into the conception of what can be. Imagination gives you the picture. Vision gives you the impulse to make the picture your own.
Also the clothing, people often ask why I talk about what characters are wearing. And that's really important to me, because you have to have a picture of how people moved in their clothes.
I learned you have to fight for yourself in the picture business.
'That's What She Said' is not Hollywood's standard picture of women: preternaturally gorgeous, wedding obsessed, boy crazy, fashion focused, sexed up 'girl' women. These are real women, comically portrayed, who are trying to wrestle with the very expectations of womanhood that Hollywood movies set up.
I read, studied, and learned everything I could find about aviation. It was my greatest desire to become a pilot. I could already picture myself in the cockpit of an airliner or in a military fighter plane. I felt deep in my heart this was my thing!
There are always two people in every picture: the photographer and the viewer.
I think it's really important to look at the big picture instead of just one competition.
I don't tend to picture my characters as actors and actresses.
When a donor is asked to contribute to a group whose innocuous-sounding name makes it appear to be doing work in the public interest, that donor should have a clear picture of where his or her money is going.
Of the thousands of people, celebrated and unknown, who have sat before my camera, I am often asked who was the most difficult subject, or the easiest, or which picture is my favorite. This last question is like asking a mother which child she likes the most.
What I find sometimes that is tricky is if actors are using too much of their own life in a picture, in a scene, they get locked into a particular way to play the scene, and it lacks an immediacy.
A picture is a fact.
I don't mind playing someone's girlfriend or wife if I have something to say, if I bring something to the picture, if I can be strong and powerful and say smart things. If not, then it's just boring.
I remember the first time I went to Europe, I had someone take a picture of me there, so I could really see myself there. There's a sense of being outside yourself, and I think celebrity allows us that too, to be outside ourselves.
Cyborg was the first superhero that I've ever seen whose parent was around but just was not there for him emotionally, mentally. I related to that in a big way because, growing up, it was my mother and grandmother that raised me and my brother and sisters. I'm the second youngest of five; my father was never in the picture.
Today a picture has value if it makes a lot of money. Myself, I declare I want to make a picture to lose money. Really! I want to lose money.
I think a lot of parents hand people over a blueprint and say, 'This is how you're supposed to do it.' And my parents, I think, kind of drew a picture and said, 'Here's the good stuff in life. How do you get there?'
Don't make your living with cinema because Hollywood will take you, will eat you, will destroy you. This is the reality. You have a good picture, have success, you take the person and they destroy you.
You know, people come up with formulas who are uncreative. They can't picture something different so they can only go by something that's laid out for them.
We live in capitalism, and capitalism is defined by the production line, and the production line is defined by specificity. If you see yourself as an artist, which I do, then you can't be limited by that. You can't let somebody tell you, 'Well, you can only draw this kind of picture or write that kind of book.'
Therefore, I feel convinced that any political picture can be changed to suit the needs of the powers that be.
I like to take pictures of lots of things: people-such as my nephews, my dogs, and just interesting objects that I see. For instance, I might take a picture of flowers by the side of the road, an old sign or a fence.
You very seldom see a picture where you watch the process of falling in love.
Good work is good work wherever it's done, in a play, a motion picture or television, and that includes commercials.
I never hide, when I walk down the street, someone's going to take my picture, that's what I look like.
I wanted a picture of Jamaica that isn't in books, and certainly not in novels.
I don't have to run the Peace Corps. I could live without seeing my picture in the newspapers and without being interviewed.
Close your bodily eye, that you may see your picture first with the eye of the spirit. Then bring to light what you have seen in the darkness, that its effect may work back, from without to within.
I have a picture of myself in my mind as I walk around every day, until I look in the mirror-and then I'm stunned.
