A Quote by Jonathan Evison

So often when we historicize material, we use this big wide-angle lens. — © Jonathan Evison
So often when we historicize material, we use this big wide-angle lens.
Best wide-angle lens? Two steps backward. Look for the 'ah-ha'.
Appreciation is like looking through a wide-angle lens that lets you see the entire forest, not just the one tree limb you walked up on.
Drama is drama, and it's really... if it's something small, you put a magnifying glass up to it; if it's something big, you use a wide lens.
In everything I do, the aesthetics are driven by the emotion. However I can do that with a camera, whether it's a long lens or a wide lens, I'll do.
A whopping 89 percent of buyers start their home search online. How your house looks online is the modern equivalent of 'curb appeal.' Rent a wide-angle lens and good lighting, get rid of your clutter and post at least eight great photos to win the beauty contest.
I think that you have to have a really specific type of personality to be able to both direct and act, because it requires enormous shifts in perspective. I mean, when you're directing, you're looking at the world through a wide-angle lens, and you're seeing all of it. You know exactly what's happening in every corner of it. You know what people are going to say. You know what they're going to do. You're controlling everything.
The lens freezes time and space in what may be an optical slavery or, contrarily, the crystallization of meaning. The limits of the lens' vision are esthetically often a virtue.
With a short lens I can reveal the hidden things near at hand, with a long lens the hidden things far away. The telephoto lens provides a new visual sensation for people: it widens their horizons. And, conversely, the things under our nose invariably look good when blown up really big.
Every angle acknowledges that it is a likeness of true angularity, for [each angle] is angle not insofar as angle exists in itself but insofar as angle exists in something else, viz., in a surface. And so, true angularity is present in creatable and depictable angles as in a likeness of itself.
We must remember that everything depends on how we use a material, not on the material itself... New materials are not necessarily superior. Each material is only what we make it.
Being behind the lens gives me a completely different perspective, and because of my blog, I get to do projects and attend shows lending me another angle.
When doing a revival, you have a lot of people asking you questions about someone who played it before, and to me that's neither here nor there - it has no bearing on the material that I have to use. The material that is written down in a score and script that the writers originally used is what I use.
At a big company, often size turns into constipation; it fogs the lens about what's really happening. Sometimes with size and success comes the notion that since we've done things to be successful, we have the formula and can institutionalize it. That can be death.
Material goods consist of useful material things, and of all rights to hold, or use, or derive benefits from material things, or to receive them at a future time.
I have often said China is not lacking in material resources. The question is whether we can make full and good use of them.
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.
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