The cinema is an institution nowadays, with its roots sunk deep in the hearts of the millions of people who find enjoyment and entertainment in going to the pictures.
I don't click pictures. People carry a camera with them while travelling, take pictures, keep them as memories, but I don't. I don't even have a camera.
All of my friends are like, 'Look at me when I was a little kid. I was so cute!' and it's a picture of them in a tutu. I'm so terrified to show them my pictures, because it's me in boy shorts and a ponytail and my brother's shirt.
A lot of people just go to movies that feed into their preexisting and not so noble needs and desires: They just go to action pictures, and things like that.
I can't imagine how many kids around the world will look at pictures of Pluto and think, 'I want to grow up to be a scientist.'
Me and my son got pictures on the Batmobile. I'm a big kid.
The thing is that pictures are everywhere. The question is what we don't see, and why don't we see so much. I just see it.
Let's get into talking about how autism is similar animal behavior. The thing is I don't think in a language, and animals don't think in a language. It's sensory based thinking, thinking in pictures, thinking in smells, thinking in touches. It's putting these sensory based memories into categories.
I think Ingmar Bergman, Francoise Truffaut - all these people created images in my mind, beautiful pictures, I loved what was known at that time as the foreign film.
Making pictures, for an actress, is like betting, for a gambler. Each time you make a picture you try to analyze why you won or lost.
All pictures are unnatural. All pictures are sad because they're about dead people. Paintings you don't think of in a special time or with a specific event. With photos I always think I'm looking at something dead.
Before I came to New York, I only had a few pictures of the city in my mind. And you know 'That Girl?' Marlo Thomas jumping with her hat? I always loved that, and I wondered what that double street she crosses is. And it's Park Avenue! And that's what I can see out my window.
Castle Rock and New Line each have their strengths, but the great thing about New Line is that they are a real focused-market, niche-market player who understand franchises. They probably understand the franchise business in motion pictures better than anyone else out there.
I'd love to do historical pictures more, but I don't know if I can.
It's crazy enough to be the person crawling through the bushes in Northern Ireland with a telescopic lens taking pictures - there are crazy people out there. But the idea that people want to go to sites and find out those spoilers... it's like if there was a website called Last Pages of Great Books, would you read that?
My parents both work in publishing, and I was a bright, academic kind of kid, and I read a lot of books, and when you read a lot, I guess the muscle that gets exercised is where you can hear the voices in your head. You can turn words into pictures and into sounds and into colours and smells.
It really just gives you a sense of when you need to have dialogue and when you don't, and if your pictures are telling the story, you don't need to have all this talking.
I'm making the art for me first. I'm making it because these are the pictures I want to see. I'm making pictures that don't yet exist.
My dad claims that he was able to trace us back to the West Virginia Hatfields. When I look at the old pictures, the patriarchs have kind of a physical likeness to some of the men on the father's side of my family. I want it to be true.
My mother had taken me to photographer Paul Hesse, who used some of my pictures on magazine covers.
I think people remember pictures not dialogue. That's why I like pictures.
The first two pictures I did, I played a young student in prep school. When I did Lifeguard, everyone was saying, You're so Southern California. It was a surprise to me.
It's also a more personal medium. It seems to go directly to one's brain. There are no pictures to distract.
Doing those costume pictures was wonderful.
I thought I was taking pictures of things that I hated. But there was something about these pictures. They were unexpectedly, disconcertingly glorious.
Objects in pictures should so be arranged as by their very position to tell their own story.
Bloated budgets are ruining Hollywood - these pictures are squeezing all the other types of movies out of Hollywood. It's disastrous.
The anarchist painter is not the one who will create anarchist pictures, but the one who will fight with all his individuality against official conventions.
'Le Reve' may be one of the three best pictures Pablo Picasso ever painted.
We do have pictures on the wall, in our office in Belfast where we spend half our time. All the head shots are on the wall. So yeah, we just throw darts at the ones we don't want anymore.
The world today doesn't make sense, so why should I paint pictures that do?
Do I need fifty finger-painted pictures by my toddler, or is one enough to capture this time of life? Mementos work best when they're carefully chosen - and when they don't take up much room!
I'm interested in all kinds of pictures, however they are made, with cameras, with paint brushes, with computers, with anything.
I hadn't done just a straight-out comedy in a long time, just letting an ensemble do really good character acting, having them carry the movie as in my earlier pictures.
A close friend of mine, Annie Leibovitz, who I've known for forty years, photographs celebrities every single day of the week but they all seem to look the same even though she's one of the most creative photographers alive. They all just look the same. Brad Pitt is a great actor but all the pictures of Brad Pitt look the same.
I'm leaving the screen because I don't think I am very good in the pictures and I have this beautiful dream that I'm elegant on the stage.
