A Quote by Neil Gaiman

It's harder to pick and choose when you're dead. It's like a photograph, you know. It doesn't matter as much. — © Neil Gaiman
It's harder to pick and choose when you're dead. It's like a photograph, you know. It doesn't matter as much.
A wise man knows when to go 'head and back off so you gotta pick and choose your fights. I know how to pick and choose.
But we don’t remember those lives. We can’t read our diaries.’ ‘It doesn’t matter. We are where we are, however we got here. What matters is where we go next.’ ‘But can we choose that?’ ‘I don’t know.’ ‘We’re Dead. Can we really choose anything?’ ‘Maybe. If we want to bad enough.
You know, like, none of us would choose - no matter where we are in the world - would choose to you know become a member of Orwell's "Nineteen Eighty-Four" world, but how much choice is really the question.
I try to express with the camera what the story is, to get to the heart of the story with picture. In battle I look at things first in terms of people, second in terms of strategies or casualties... To tell a story, you don't photograph one hundred dead civilians to prove there were one hundred dead civilians. You photograph one dead civilian with an expression on his face that says, This is what it's like if you're a dead civilian in Vietnam.
People put barriers up in your path, and one of those barriers is age. They tell you, "You're too old. You don't photograph so well anymore." I know I don't photograph so well anymore, so what can I do? I can do something different, where it doesn't matter as much how I look.
The more equally attractive two alternatives seem, the harder it can be to choose between them - no matter that, to the same degree, the choice can only matter less.
I always wanted to make an abstract photograph. I would photograph walls, sports interiors, marks on the walls people made. Even looking back it makes so much sense. It's like it was a fight against the photograph.
I do think that the role of the Internet, and the way it's bringing everything into the home, has made a parent's job much more difficult. And it's harder to know what to do and how to do it. It's much, much harder.
Of all the things you choose in life, you don't get to choose what your nightmares are. You don't pick them; they pick you.
When I say I want to photograph someone, what it really means is that I'd like to know them. Anyone I know I photograph.
I think you reveal yourself by what you choose to photograph, but I prefer photographs that tell more about the subject. There's nothing much interesting to tell about me; what's interesting is the person I'm photographing, and that's what I try to show. [...] I think each photographer has a point of view and a way of looking at the world... that has to do with your subject matter and how you choose to present it. What's interesting is letting people tell you about themselves in the picture.
I'm not in a position where I can pick and choose. It's the other way around. The studios pick and choose.
If you finish like a photograph, on the other hand, the picture has as much personality as a photograph.
In front of the photograph of my mother as a child, I tell myself: she is going to die: I shudder, like winnicott's psychotic patient, over a catastrophe which has already occurred. Whether or not the subject is already dead, every photograph is this catastrophe.
The norm of unconditional parental love, I think, depends on the fact that we don't pick and choose the traits of our children in the way that we pick and choose the features of a car we might order, or a consumer good.
I'm an omniviorous reader, but I don't read what could overlap with my own work. It's like tuning a radio frequency - it's much harder to pick up if there's something else there.
This site uses cookies to ensure you get the best experience. More info...
Got it!