A Quote by Gerard Malanga
Whenever I do someone's portrait, I'm trying to locate the photo in the lens while reaching into that person psychologically. There's the magic! I don't always achieve it. It's a hit or a miss!
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Music is a kind of magical thing, and you can't make magic every time, but you try. Every once in a while it has that magic, and the audience knows that. I probably miss it more than I hit it, but I think that's what all musicians try for.
I feel like a hit will come whenever it does, but I don't want to sit in a studio trying to figure out the magic formula and mixing spices and trying to come up with the perfect song.
What I find really interesting is, whenever you see the person who gives you the portrait of yourself, the portrait seems to be a combination of their face and your face.
Like most portrait photographers, I aim to record the instant the subject is not thinking about being photographed, striving to get beyond the practiced facial performance, reaching for something unplanned. While trying to be as objective as possible, I acknowledge that every gesture is still an act of artifice.
It was while making newspaper deliveries, trying to miss the bushes and hit the porch, that I first learned the importance of accuracy in journalism.
I think finales are always so hit or miss because they're so personal. When you do a finale, it's always up to the person watching it.
Yet each of us also carries another portrait with us, a picture far more important than any in our wallet. Psychologists have a name for it. They call that mental picture of ourselves, our self-image. ... there's always the person whose self-image is bent all out of shape, like a photo carried too long in a wallet.The good news of the tremendous worth we have in God's eyes can light up our inner self-portrait.
Whenever you work with someone who you idolize, you realize... he's just a person trying to make a movie as best he knows how. And that doesn't look so different from other people trying to do the same thing.
When a person looks through a colored lens, everything seems to be that color. If the lens is tinted yellow or blue, everything seems yellow or blue. A person who looks at life through the lens of gratitude will always find things to be grateful for.
The portrait of a person is one of the most difficult things to do. It means you must almost bring the presence of that person photographed to other people in such a way that they don't have to know that person personally, but that they are still confronted with a human being that they won't forget. That's a portrait.
For the surf idol Duke Kahanamoku portrait, which I created for the Surfrider Foundation, I took a photo from a book cover and abstracted the photo image into a drawing. This drawing was laminated onto a surfboard and auctioned to a buyer.
As much as it hurts, I would rather miss someone than hit someone.
The league has to be sensitive about what crosses the line and what doesn't. It's tough to determine what is a legal hit and what isn't a legal hit, and if someone was deliberately trying to hurt someone or not. A certain integrity, though, has to be maintained.
It's something that has informed quite a lot of my comedy - that idea of someone who is always trying to get in there with the right crowd, always trying to be a certain type of person and never managing it.
It's very exciting to take magic into a new direction, whereas a lot of times magic comes from a place of sort of ego, like, 'Look what I can do that you can't do.' It kind of comes across that way a lot, and you're always trying to challenge the magician; you're always trying to figure out how the magician is doing it.
A lot of people lose a sense of reality when they achieve success. That's a terrible danger because you have to remember who you were and who you are basically and that you're still a person and all that out there is a kin of magic - what people see out there is magic, it's media magic. It's not very real and it's very glamorous, but you have to keep a sense of you through it all.
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