A Quote by John Loengard

I was photographing the photographer Brassaï. He had very prominent eyes, like a frog's. As I focused my lens, he brought his hand up and pretended to focus his eye. It was a joke, but it added mystery to the picture. There's a sense of action in a very small world. Or with Allen Ginsberg there were people smoking cigarettes and in the smoke there's a sense of motion. It makes much out of very little.
It is essential for the photographer to know the effect of his lenses. The lens is his eye, and it makes or ruins his pictures. A feeling for composition is a great asset. I think it is very much a matter of instinct. It can perhaps be developed, but I doubt if it can be learned. To achieve his best work, the young photographer must discover what really excites him visually. He must discover his own world.
Of course, there are some people who behave rudely. Allen Ginsberg used to like to get up in public and take his clothes off. I don't do that, but I liked Allen Ginsberg. He was a nice guy.
Miraculously, smoke curled out of his own mouth, his nose, his ears, his eyes, as if his soul had been extinguished within his lungs at the very moment the sweet pumpkin gave up its incensed ghost.
I am very much a scientist, and so I naturally have thought about religion also through the eyes of a scientist. When I do that, I see religion not denominationally, but in a more, let us say, deistic sense. I have been influence in my thinking by the writing of Einstein who has made remarks to the effect that when he contemplated the world he sensed an underlying Force much greater than any human force. I feel very much the same. There is a sense of awe, a sense of reverence, and a sense of great mystery.
Rory is very established in England, which you are seeing right now with Bond. But his father Roy Kinnear was a very, very beloved comedy actor here in the UK. And Rory actually even looks a bit like his dad. And so it makes a lot of sense to me that Rory has such good comic chops because it's in his blood. He's very, very funny as Sean.
Mugabe had a very strange quality about him. He was dapper. He had the strangest skin - it looks very shiny, but it's not oily. It's stretched very finely over his flesh. His eyes have layers of cyan crystals in them. It was a quiet, dark moment when I took his picture.
a local train ... moved gently off up the line with a very singular motion indeed, in which the leap of a frog, the bounce of a pogo-stick, and the canter of a very short fat pony all were brought to mind.
Zhuangzi is especially insightful about the human pretension to know. The Zhuangzi tells a story about a frog who lives in caved-in well. Because he is the lord of this little world of his, king of the pollywogs, he is very proud of himself. But he doesn't know how small his world is until a turtle comes and tells him about the vastness of the sea. We human beings are like the frog, not realizing how little our worlds are.
I think that, if we do anything in a positive sense for the world, is provide one little bit of context, that's very specifically focused, and hopefully people can add to their entire puzzle that gives them a larger picture of what it is that they see.
He was a very young boy; quite a little child. His hair still hung in curls about his face, and his eyes were very bright; but their light was of Heaven, not earth.
Most people live, whether physically, intellectually or morally, in a very restricted circle of their potential being. They make very small use of their possible consciousness, and of their soul's resources in general, much like a man who, out of his whole bodily organism, should get into a habit of using and moving only his little finger.
I got very lucky to work with Wes Craven, very early on in my career, and continued to work with Wes for almost 19 years. I learned so much from him, and about his sense of story and his sense of horror, and that was great to be a part of.
In one sense, Facebook is very focused as an address book, as efficient communication. It's like e-mail or like IM or something like that. And we do those things, too, but we do so much more. We try to focus on the whole world and all the things that people are interested in, rather than just people to people, or one to one communication.
In the greatest fiction, the writer's moral sense coincides with his dramatic sense, and I see no way for it to do this unless his moral judgement is part of the very act of seeing, and he is free to use it. I have heard it said that belief in Christian dogma is a hindrance to the writer, but I myself have found nothing further from the truth. Actually, it frees the storyteller to observe. It is not a set of rules which fixes what he sees in the world. It affects his writing primarily by guaranteeing his respect for mystery.
A lot of people say, 'I always knew Lucky Luciano as a very smooth, very elegant, very powerful man.' All the accounts of him as an older man were that he was very genteel but he still had the look of smothered violence behind his eyes.
I was very careful to cast guys who were very good-looking and very fit and who had a certain sense of privilege about them, because with that sense of privilege comes contempt.
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