A Quote by Alex Prager
The eyes sparked a lot of things for me, it could be somebody remembering something they had witnessed or heard about, or it could be the person in the photograph that was experiencing a tragedy or it could also be the spectator looking on from a safe distance.
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You could analyze me and say that my father leaving and being absent was a motivator for early ambition, trying to prove myself to this apparition who had vanished. You could argue that me being a mixed kid in a place where there weren't a lot of black kids around might have spurred on my ambitions. You could go through a whole litany of things that sparked me wanting to do something important.
I LOVE YOU SO MANY REASONS ' --- Before i met you I spent a lot of time meeting all kinds of people i had a lot of fun and learned a lot Though each person I met had great characteristics something was missing No one person had all the qualities that I had hoped a person could have- someone whose every action and thought I could respect someone who was very intelligent yet could also be fun-loving someone who was sensitive, yet virile exciting and sensuous someone who knew what they wanted out of life. a beautiful person inside and out I could not find a person like this until i met you
I'm absolutely not an athletic person, but I used to be married to a runner. He would say that, especially in long-distance races, you could tell who was going to win and who wasn't, and if the person was present behind his eyes, if he was looking around and paying attention, you could be pretty sure he wasn't going to win. The person who was tranced out had a much better chance of winning. Because he or she had lost his or her governing self.
Personally, I've never understood inactivity. Why a person would sit when he could soar, be a spectator when he could play, or atrophy when he could develop...is beyond me!
A work can do many things at once, and it doesn't have to be just about the world, it could also be about photography, it could be about perception, it could be an exploration of the medium. It could be a document, it could be a visual poetry, and it could be a formal exploration all at the same time.
I could feel myself changing physically. It was like something dropped out of the sky. Seeing her on the fire escape had given me a certain feeling, and then when I saw the photograph of her, it gave me a similar feeling. And I thought that was an incredibly powerful thing - that a photograph could give you a feeling that was similar to a feeling you had in the physical world. Nobody could've told me that. I knew what I was going to do for the rest of my life.
When I heard about the Windrush issue, I thought, 'That could be my mum... it could be my dad... it could be my uncle... it could be me.'
Having been a stunt girl for so long, a big part of my job was to not just make the other person look as cool as they could, but also to act as a support. My job was to make them as safe as they could be, so that they could be as explosive and as emotionally engaged as they could be.
Could you have seen that mother clinging to her child, when they fastened the irons upon his wrists; could you have heard her heart-rending groans, and seen her bloodshot eyes wander wildly from face to face, vainly pleading for mercy; could you have witnessed that scene as I saw it, you would exclaim, Slavery is damnable!
At lucky moments this emanation could overwhelm the spectator in such a way, that because of all sorts of associations in his thinking, he could finally be taken to those areas which also had moved me so deeply and made me think I should draw the attention of others to it.
You could be a victim, you could be a hero, you could be a villain, or you could be a fugitive. But you could not just stand by. If you were in Europe between 1933 and 1945, you had to be something.
I don't think anybody knows it was Russia that broke into the DNC. [Hillary Clinton] is saying Russia, Russia, Russia, but I don't - maybe it was. I mean, it could be Russia, but it could also be China. It could also be lots of other people. It also could be somebody sitting on their bed that weighs 400 pounds, OK?
He believed that he must, that he could and would recover the good things, the happy things, the easy tranquil things of life. He had made mistakes, but he could overlook these. He had been a fool, but that could be forgiven. The time wasted--must be relinquished. What else could one do about it? Things were too complex, but they might be reduced to simplicity again. Recovery was possible.
There's something about looking at Super 8 films that is so evocative. You could argue it's the resolution of the film somehow because they aren't crystal clear and perfect,so there is a kind of gauzy layer between you and what you see. You could argue it's the silence of them. You could say it's the sound of the projector that creates a moodiness. But there's something about looking at analog movies that's infinitely more powerful than digital.
He stepped colser. Looked deep into my eyes. Hesitated a millisecond, and then dove in. "I think I'm falling in love with you." Oh. No. "Cole--" "I know how you feel. About me. About him. I just wanted you to know-we could be good together. We could have a life. Kids. Vacations. On Sunday mornings I could serve you breakfast in bed." He gave me his I-know-you-find-me-irrestible grin. "And then I could make you something to eat.
Do I believe in aliens? No. I think there could be. Do I believe in God? No, I think there could be. Do I believe that Jesus actually existed? No. I think he could have done. A few things I've seen. A few things I've read. A few things I've watched have sparked my interest. Do I think it could all be rubbish? Yeah. I do.
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