A Quote by Apollo Robbins

In the same way that a film director would use a film lens to blur out a certain item or use a spotlight, I use certain movements that draw the eye instinctually. — © Apollo Robbins
In the same way that a film director would use a film lens to blur out a certain item or use a spotlight, I use certain movements that draw the eye instinctually.
I try to express in my films things that no other art can approach. In my monster films for example, I use special effects in the same way one would use a special film stock, a special camera, and so on. Monster films permit me to use all of these elements at the same time. They are the most visual kind of film.
I regard photography and film simply as new technical means which painters must absolutely make use of, just as from time out of mind they have made use of brush, charcoal and color. It is certain, however, that photography and film must become as evocative for the sensibility as pencil, charcoal and brush. (1927)
The structural thinking I use in the concert hall is unnecessary to most film projects, and most film composers make better use of the enormous range of pop and other materials and techniques required of them than I probably would, faced with the same challenge.
I don't use film in the way that the great auteurs do. I use film, the camera, to record as effectively and as perceptive as I am able what I want to say through the actors.
There's plenty of film out there, and quadrillions of cameras that use film - I don't think it makes much sense not to use it. The thing that's going out is the manufacturing of the paper. Incidentally, all these years my wife has told me that I'm color-blind.
I should say that feminism gave me permission to deal with my own emotional life and put it up front in certain ways, or use film as a way to examine, at that time, my own heterosexual experience. Lives of Performers was the beginning of that kind of investigation. But also, the film was influenced by the aesthetics and structures of experimental film as that was taking place at the same time. Hollis Frampton was a big influence on me at that time.
Films are made the same today, as they've ever been made, in certain respects. The scriptwriting, the pre-production, the storyboarding, and the designing are all the same. The technique of animation has changed, in the sense that rather than drawing it by hand, we use a computer as a tool. The computer has become a pencil to draw or paint the images that we see in a film.
I don't use film cameras. I don't do visual effects the same way. We don't use miniature models; it's all CG now, creating worlds in CG. It's a completely different toolset. But the rules of storytelling are the same.
You have to communicate on a much greater scale. With a camera, you can use the flick of an eye. On stage, a lot of other things are happening that can pull focus or energy. You're always thinking the same way, but you have to amplify your thoughts with the volume of your speech and the ways you use your whole body to communicate what you're feeling. It's a little bit different from film.
We're able to use certain techniques to get people to behave in certain ways. We're able to use certain techniques to make it look like we're reading minds, even though we're not.
Architects see the world a certain way, and cooks see and smell the world a certain way. [Dancing ] is always been my lens, what I use to see.
I have a certain point of view, a certain way to plate food, certain ingredients that I like to use.
The pressure to conform to 'politically correct' speech is primarily a pressure not to use certain expressions. But when our freedom to use certain expressions is taken away, then our ability to think in certain ways is also curtailed.
You're born with certain gifts and you use them as best you can in life. You begin to learn and recognize that you have certain skills and aptitudes that you apply and use them to carry you forward.
I always relish the idea of collaborating with the director on creating the sound world, the sound spectrum, and the sound environment of the film. I use every means at my disposal to create a score that is as strong and powerful to enhance the director's vision for the film.
There's no more film. Film is gone. We photograph digitally and electronically. We don't really use film the same way anymore - it's disappearing little by little. Things change. We have to change with them. There's no point in liking or not liking it. It is what it is.
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