A Quote by David Hurn
Life as it unfolds in front of the camera is full of so much complexity, wonder and surprise that I find it unnecessary to create new realities. There is more pleasure, for me, in things as-they-are.
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I don't like to put too much effort into things. I find that once you get involved with special effects it is no longer about what is happening in front of the camera and I really want to concentrate on what is happening in front of the camera, like the man apparently peeing on the surface of the screen.
I found that the camera was a comforting companion. It opened up new worlds, and gave me access to people's most intimate moments. I discovered the privilege of seeing life in all its complexity, the thrill of learning something new every day. When I was behind a camera, it was the only place in the world I wanted to be.
I'm so entranced by what unfolds in front of the camera. It seems wonderfully out of my control.
If the glass there in front of me astounds me more than all the glasses I've seen in painting, and if I even think that the greatest architectural wonder of the world couldn't affect me more than this glass, it's really not worth while going to the Indies to see some temple or other when I have as much and more right in front of me.
It's not that we need to form new organizations. It's simply that we have to awaken to new ways of thinking. I believe it makes no sense to spend a lot of time attacking the current realities. It is time to create the new models that have in them the complexity that makes the older systems obsolete. And to the extent that we can do that, and do that quickly, I think we can provide what will be necessary for a major breakthrough for the future.
I'm not the "not-working" type. I derive pleasure from my work. Work gives me relaxation too. Every moment I am thinking of something new: making a new plan, new ways to work. In the same way that a scientist draws pleasure from long hours in the laboratory, I draw pleasure in governance, in doing new things and bringing people together. That pleasure is sufficient for me.
It is part of my life, being in front of the camera all the time. It's not something that's new to me.
I was very new to working in front of the camera when I started shooting Gatsby, so I set myself the mission of gleaning as much information as possible out of the much more experienced actors. The cast was astoundingly talented.
I was very new to working in front of the camera when I started shooting 'Gatsby', so I set myself the mission of gleaning as much information as possible out of the much more experienced actors. The cast was astoundingly talented.
I wanted to go beyond the sentiments and needs of daily life to create a sense of wonder and find a new space for design.
I think that if you can convey a kind of a complexity, a mystery, a truth in stillness, that, to me, is really worth striving for, and I totally agree with Michael Fassbender in that less is more. If it's going on inside you, the camera will find it.
A tease is a con. You press a spot because you know that it can be pressed, and while the sucker is feeling the pleasure or the pain resulting from the pressure, you take something from him. ...A flirt doesn't do that. A flirt does a dance within the context of giving pleasure. Referring to this, referring to that. And suddenly, following the references, you find a little surprise. Nothing enormous. Nothing like 'Feed on me.' Nothing like that. Something small with a bow on it. It's a pleasure. A surprise, and a *gift*.
I know I have the ability to do so much more than just stand in front of the camera the rest of my life.
New laws, new kinds of things can emerge as the universe evolves. The more moving parts you have in something, the more possibilities there are. There's a whole new science now of complexity, and what we see is that complexity requires a very different approach than the kind of bottom-up approach that fundamental physics has always used. We're gonna have to think about the world in a different way if we want to address complex systems.
I think I've found a purpose in acting; it's something I truly love and truly enjoy. It makes me happy. It makes me understand more about life, in front of the camera, than what I'm living beyond the camera.
One of the things I'm trying to do over and over again in my books is create new mythologies, create new ways to understand the complexity of the world. I think what mythology does is impress upon chaotic experience the patterns, hierarchies and shapes which allow us to interpret the chaos and make fresh sense of it.
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