A Quote by Mike Ruiz
My aesthetic is derived from my point of view which is one of optimism and hope. The camera became a conduit for my need to create a more beautiful world around me.
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...aesthetic values are changed under the influence of sexual emotion; from the lover's point of view many things are beautiful which are unbeautiful from the point of view of him who is not a lover, and the greater the degree to which the lover is swayed by his passion the greater the extent to which his normal aesthetic standard is liable to be modified.
But every point of view is a point of blindness: it incapacitates us for every other point of view. From a certain point of view, the room in which I write has no door. I turn around. Now I see the door, but the room has no window. I look up. From this point of view, the room has no floor. I look down; it has no ceiling. By avoiding particular points of view we are able to have an intuition of the whole. The ideal for a Christian is to become holy, a word which derives from “whole.
[T]he more clamour we make about 'the women's point of view', the more we rub it into people that the women's point of view is different, and frankly I do not think it is -- at least in my job. The line I always want to take is, that there is the 'point of view' of the reasonably enlightened human brain, and that this is the aspect of the matter which I am best fitted to uphold.
Hope and optimism are different. Optimism tends to be based on the notion that there's enough evidence out there to believe things are gonna be better, much more rational, deeply secular, whereas hope looks at the evidence and says, "It doesn't look good at all. Doesn't look good at all. Gonna go beyond the evidence to create new possibilities based on visions that become contagious to allow people to engage in heroic actions always against the odds, no guarantee whatsoever." That's hope. I'm a prisoner of hope, though. Gonna die a prisoner of hope.
You need to know what makes artists tick. Having been through the process myself as a musician, since I was an early teen, gave me an advantage - understanding them from their point of view, because it's about them, it's not about you - it's their vision and what they're capable of achieving, and you're the conduit.
How we view ourselves can often determine the perspective and degree in which we see others and the world around us. Each and every one of us has a view. Such a view, that it can shape the future of others and how they live, dream and look towards the future that we all hope is better and more fruitful than our past. This I believe is a common initiative.
My being subsists only from a supreme point of view which is precisely incompatible with my point of view. The perspective in which I fade away for my eyes restores me as a complete image for the unreal eye to which I deny all images. A complete image with reference to a world devoid of image which imagines me in the absence of any imaginable figure. The being of a nonbeing of which I am the infinitely small negation which it instigates as its profound harmony. In the night shall I become the universe?
I take a biocentric point of view. I look at things from the point of view of the Earth and the laws of ecology. As opposed to the anthropocentric point of view, where everything revolves around humanity.
But black folks have never really been optimists. We've been prisoners of hope, and hope is qualitatively different from optimism in the way that there's a difference between The Blues and Lawrence Welk. The Blues and Jazz have to do with hope while the other is sugarcoated music which has to do with sentimental optimism.
The individual point of view is the only point of view from which one is able to look at the world in its truth.
The camera has a mind of its own--its own point of view. Then the human bearer of time stumbles into the camera's gaze--the camera's domain of pristine space hitherto untraversed is now contaminated by human temporality. Intrusion occurs, but the camera remains transfixed by its object. It doesn't care. The camera has no human fears.
From a director's point of view, if I can create different characters which impress the audience, that's fantastic for me.
England used to be known for making beautiful things. Then we became the rag trade, known for our street fashions, which were picked up around the world. I want us to be recognized for quality. We have the hands to make the clothes. What we need is the motivation.
The filmmakers I really love are the ones that let me look through their eyes for a while. They have an aesthetic and social point of view.
Hope differs from optimism. Hope does not arise from being told to "think positively," or from hearing an overly rosy forecast. Hope, unlike optimism, is rooted in unalloyed reality.
In Slumdog Millionaire when you are immersed in the point of view of children in the slum and the bustle of the city, the handheld camerawork is amazing. A handheld camera is perfect for establishing point-of-view and for instilling the feeling that you are there.
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