A Quote by Bill Eppridge

There in front of me was the Senator on the floor being held by the busboy. There was nobody else around, and I made my first frame, and I forgot to focus the camera. The second frame was a little more in focus... then just for a second, while everything was open, the busboy looked up, and he had this look in his eye. I made that picture, and then suddenly the whole situation closed in again. And it became bedlam.(On the 1968 shooting of U.S. presidential candidate Bobby Kennedy.)
I learn my lines in a few different ways. A lot of my dialogue sticks with me in a general sort of way when I read the entire script for the first or second time. Then, when I get the shooting schedule, I have a better idea of what scenes are shooting when. I then will focus on those that are coming up first.
That old Bobby Kennedy 1968 form of liberalism where you could be holding hands with the Appalachian family on one day and then be in Harlem the next day and nobody thinks it's weird, that is something that isn't as strong. It was strong in 2008. It hasn't been as strong since then. That's just a reality that we have to deal with that it's not just that the Republicans ran a terrible candidate who had bad ideas, it's also that the circle of love and affirmation that we have as progressives can sometimes just not be big enough.
Direction is a thousand choices, a thousand decisions a day. And having a vision of what you want, and then knowing what you want frame-by-frame, second-by-second... if you don't have it laid out in the design and in the way the actor performs it, it's not going to happen.
I have a way to photograph. You work with space, you have a camera, you have a frame, and then a fraction of a second. It's very instinctive. What you do is a fraction of a second, it's there and it's not there. But in this fraction of a second comes your past, comes your future, comes your relation with people, comes your ideology, comes your hate, comes your love - all together in this fraction of a second, it materializes there.
I think about photographs as being full, or empty. You picture something in a frame and it's got lots of accounting going on in it-stones and buildings and trees and air - but that's not what fills up a frame. You fill up the frame with feelings, energy, discovery, and risk, and leave room enough for someone else to get in there.
I found that being top put all the pressure on second place, not first. The focus is on the second-place team, who can't afford to slip up again.
Sit in front of an object of concentration with the eyes open. Focus on a candle flame, or a yantra, a little dot, something small. Just look at it. Focus on it until there is nothing else in your mind. This develops willpower.
And then you came along and you spoke to me and nobody had looked me in the eye for years. (...) But I remember you that day and you looked at peace with yourself and it made me reconsider everything I had planned to do. Because I thought to myself, you can't do this to her, not after the Hermit thing." "Do what to me? I don't think leaving me on that platform would have changed my life, Griggs," I lie. "You being on that platform changed mine.
You're dying right now. Right this minute.' He looked at his watch, said, 'Right this second,' then tapped it with his finger. 'See there? That second passed. It's gone. Not gonna come again. And while I'm talking to you, every second I'm talking, a second is passing. Gone. Count them up. Count them down. They're gone. Each one bringing you closer to your dying time.
I hate first drafts, and it never gets easier. People always wonder what kind of superhero power they'd like to have. I wanted the ability for someone to just open up my brain and take out the entire first draft and lay it down in front of me so I can just focus on the second, third and fourth drafts.
I just remember watching Federer the first year he won Wimbledon. He was struggling with his back problem. I remember it vividly. It looked like there was a chance he was not going to finish. He had that look in his eye. Then, somehow, he found the wherewithal to dig a little deeper, and suddenly he wins the thing, and he's a different player.
I went from being a senator, a young senator, to being considered for vice president, running for president, being a vice presidential candidate, and becoming a national public figure. All of which fed a self-focus, an egotism, a narcissism that leads you to believe that you can do whatever you want.
[Jack Johnson] became a superstar and started his own record label, and then he made and produced my first record, he co-wrote the songs on there, and then he let me open up for him for two years all around the world. And that was like the best start I could've had, the best way I could've started in the music scene.
Football is like hunting. One second can change it all, but it's not just any second, it's a flash. The prey is there and suddenly then it's not. In an instant it's over - you won't have the chance again. You need to know which one precise second to train for, and to understand that moment.
Rebel Heart changed everything. First of all, it drove me insane - and made me feel an overwhelming sense of anxiety. It made me second guess everything, because suddenly I thought, 'Oh god, everyone's heard all these demos.'
I was already on pole, then by half a second and then one second and I just kept going. Suddenly I was nearly two seconds faster than anybody else, including my team mate with the same car.
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