A Quote by Gabriel Figueroa

I am certain that if I have any merit, it is knowing how to make good use of my eyes, to guide the camera in its task of capturing not only colors, lights and shadows, but the movement of life itself.
When you're on camera, even though you try to lose yourself in the character, you are aware that there is a camera there capturing every moment of it visually. With doing a voiceover job, you are worried about the sound of it, and you have to make all those visual colors come out with your sound.
An optimist is a person who sees only the lights in the picture, whereas a pessimist sees only the shadows. An idealist, however, is one who sees the light and the shadows, but in addition sees something else: the possibility of changing the picture, of making the lights prevail over the shadows.
My choice of colors does not rest on any scientific theory; it is based on observation, on feeling, on the experience of my sensibility. Inspired by certain pages of Delacroix, an artist like Signac is preoccupied with complementary colors, and the theoretical knowledge of them will lead him to use a certain tone in a certain place. But I simply try to put down colors which render my sensation.
All great films are a resolution of a conflict between darkness and light. There is no single right way to express yourself. There are infinite possibilities for the use of light with shadows and colors. The decisions you make about composition, movement and the countless combinations of these and other variables is what makes it an art.
Evolution tells us how to survive; art tells us how it's possible still to live even while knowing that we and all we love will someday vanish. It says there's beauty even in grief, freedom even inside the strictures of form and of life. What's liberating isn't what's simplest; it's the ability to include more and more shadows, colors and possibilities inside any moment's meeting of self and world.
Who speaks of art speaks of poetry. There is not art without a poetic aim. There is a species of emotion particular to painting. There is an effect that results from a certain arrangement of colors, of lights, of shadows. It is this that one calls the music of painting
Use colors on eyes that contrast with the iris to make eyes appear more vibrant.
Only by spiritual practice can we break through our karma and the effects of the causes we have made. Only then can we escape from them. It matters not whether you have acquired any merit. Merit is merit. Karma is karma. Nonetheless, if one practices the Quan Yin Method, one can be liberated regardless of having any merit or not. It is so logical, so scientific.
Knowing how to paint and to use one's colors rightly has not any connection with originality. This originality consists in properly expressing your own impressions.
There is no unmoving mover behind the movement. It is only movement. It is not correct to say that life is moving, but life is movement itself. Life and movement are not two different things. In other words, there is no thinker behind the thought. Thought itself is the thinker. If you remove the thought, there is no thinker to be found.
I taught myself to use a camera - it's not very difficult to use a camera, but I never bothered looking at any textbooks on how to make a picture. I had a much more casual relation to it. For me at the time it was much more about the process rather than the results.
I have received the digital camera as a blessing. It has really changed my life as a filmmaker, because I don't use my camera anymore as a camera. I don't feel it as a camera. I feel it as a friend, as something that doesn't make an impression on people, that doesn't make them feel uncomfortable, and that is completely forgotten in my way of approaching life and people and film.
Since I have difficulty defining merit and what merit alone means - and in any context, whether it's judicial or otherwise - I accept that different experiences in and of itself, bring merit to the system.
There is a rhythm in life, a certain beauty which operates by a variation of lights and shadows, happiness alternating with sorrow, content with discontent, distilling in this process of contrast a sense of satisfaction, of richness that can be captured and pinned down only by those who possess the gift of awareness.
The only weapon we have to oppose the bad effects of technology is technology itself. There is no other. We can't retreat into a nontechnological Eden which never existed...It is only by the rational use of technology to control and guide what technology is doing that we can keep any hopes of a social life more desireable than our own: or in fact of a social life which is not appalling to imagine.
Life is composed of lights and shadows, and we would be untruthful, insincere, and saccharine if we tried to pretend there were no shadows.
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