A Quote by Gary Cole

'Fatal Vision' was basically the first thing I did on camera. — © Gary Cole
'Fatal Vision' was basically the first thing I did on camera.
The first thing I did with my very first camera was climb Mt. Fuji. Climbing Mt. Fuji is a lesson in determination and moderation. It would be fair to ask if I took the moderation part to heart. But it certainly was a lesson in respecting your camera. If I was going to live with this thing, I was going to have to think about what that meant. There were not going to be any pictures without it.
My first pictures are from 1972, and my first proper camera dates back to 1973. During the first year I used my father's camera. It had a flash on it, which I don't like, but I didn't know anything about photography back then, so it was just what I did.
I have done my best. I saw a fatal flaw in the camera industry. We did our best to address it.
When I was a chain smoker, I used to wake up and the first thing I'd do was reach for a cigarette, basically. And now I do the same thing for a smartphone, basically.
The thing that made 'M*A*S*H' so good was the fact that we did have those relationships off-camera and took them on-camera.
An unusual thing happened after that great first vision. The Prophet Joseph received no additional communication for three years. However, he did not wonder, he did not question, he did not doubt the Lord. The Prophet Joseph patiently waited. The Prophet Joseph taught us the principle of patience-by example.
That was an interesting thing I learned I think the first time I did a late night show or something. It was like, "Oh, this is for the camera and a performance that you're giving to the people at home."
I always have traveled with a camera throughout my life, but I always had my old 35mm film camera. When I was training to go into space, the only equipment there was a digital camera. I went through a fast-track class on Earth. It actually was fun, though I'm basically a dinosaur with computers.
When I first started, I would go to Weist-Barron, and I studied with Rita Litton and ACTeen. For teenagers, it's a really, really great school. We did a lot of on-camera stuff, so you see yourself and what you do on camera.
Human vision is untrustworthy, subjective and selective. Camera vision is total and non - objective.
I think the camera was always my obsession, the camera movements. Because for me it's the most important thing in the move, the camera, because without the camera, film is just a stage or television - nothing.
We have to have a vision of the world we want to make in 100 years. And maybe when we have that vision, when we convince enough people that that is a realistic vision, and that the opposite vision is basically that if we don't do something in this 100 years, a hundred years from now this world is gonna be so destroyed, so raped and ravished that we won't HAVE much of a world to save.
Here's the most mysterious thing to me. I look back at those first plays I did and the first movies I did, and I only have one question, which is, 'What was I so confident about? Where did I get that?
What did it mean, the first time, a thinking creature looked deeply into another's eyes? Did it take a hundred thousand years before this happened or it was the first thing they did, transcendingly, the thing that made them higher, made them modern, the gaze that demonstrates we are lonely in our souls?
I'm wary of artistic directors who say, 'Here is my vision', because it's empirical. Basically it's about who you work with and what plays you put on; the vision comes out of that.
This would be a tricky operation, no doubt of that, and a mistake would probably be fatal. So many things he had done over the years would have been fatal, had his luck not been strongly good. He had cheated death dozens of times, but that did not mean he could take it as a given. A man needed only one fatal mistake to end the game.
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