A Quote by Jonathan Safran Foer

If the thrill of hunting were in the hunt, or even in the marksmanship, a camera would do just as well. — © Jonathan Safran Foer
If the thrill of hunting were in the hunt, or even in the marksmanship, a camera would do just as well.
If you need more than 10 rounds to hunt, and some argue they hunt with that many rounds, you shouldn't be hunting. If you can't get the deer in 3 shots, you shouldn't be hunting. You are an embarrassment.
Onstage, I enjoy the thrill of live performance - there is no substitute for that rush. On camera I enjoy the crafting of a scene, the widespread creative marksmanship happening all around you for every second of footage. Onstage you can suddenly feel solitary, like it's all on your shoulders, while on camera you feel like there are so many people working with you on every shot. Those are each unique and gratifying challenges.
Fox hunting, there's big fox hunting thing, there's arguments in Britain about fox hunting. And they go around. They obviously hunt foxes because the foxes, they attack chickens. And posh people have an alliance with chickens just like in the First World War.
American hunting is quite different from English hunting because we don't hunt to kill. Even if I wanted to kill a fox, I couldn't. They're too smart and they have too many ways to escape me, whereas they don't in England.
I spend most of hunting season at the ranch. We all love to hunt whitetails, and we have a pretty good supply in South Texas. I also love to hunt elk in Arizona, mule deer in Utah, and I've been to Canada to hunt caribou.
You get these moments of thrill. There you are, at 3:00 in the morning, and you know something about how we evolved that nobody else in the world knows. It's a thrill of discovery. You make this breakthrough, and you find something. It's this wonderful, wonderful scavenger hunt when you got to the end. It's just so great to be a scientist.
A captivating moment was when I realized that people, including myself, were not saying, “I just bought an item on eBay.” They were saying, “I just won an item on eBay.” It was the thrill of the hunt. I bought a car on eBay.
We wanted to make a show that not only highlights the adventure of hunting, but also the fantastic culinary opportunities that a successful hunt can bring. It's great to have those efforts validated with a Beard nomination, and it speaks to the dedication of everyone on the MeatEater team. This honor makes us even more motivated to keep hammering out a solid, authentic hunting show that speaks to a variety of audiences.
The stigma that used to exist many years ago, that actors from film don't do television, seems to have disappeared. That camera doesn't know it's a TV camera... or even a streaming camera. It's just a camera.
I have long had a tendency to tie marksmanship to morality. The essence of good marksmanship is self-control, and self-control is the essence of good citizenship. It is too easy to say that a good shot is automatically a good man, but it would be equally incorrect to ignore the connection.
I suppose if there were a part of the world in which mastodon still lived, somebody would design a new gun, and men, in their eternal impudence, would hunt mastodon as they now hunt elephant. Impudence seems to be the word. At least David and Goliath were of the same species, but, to an elephant, a man can only be a midge with a deathly sting.
Hunting is the noblest sport yet devised by the hand of man. There were mighty hunters in the Bible, and all the caves where the cave men lived are full of carvings of assorted game the head of the house drug home. If you hunt to eat, or hunt for sport for something fine, something that will make you proud, and make you remember every single detail of the day you found him and shot him, that is good too.
The act of photography is like going on a hunt in which photographer and camera merge into one indivisible function. This is a hunt for new states of things, situations never seen before, for the improbable, for information.
There was actually a camera on your face. I don't know so much about the animation process but the camera was in our face so it could get expressions from our faces that would eventually arrive on the gnomes. It almost felt like you were cheating at times because it was a wee bit too much fun. You were in that box on your own. Kelly [Asbury] was in Toronto, I was in LA, so I was just on my own. I thought: "I can't be getting paid for this as well!"
When you get the ideas, that's a thrill; when you're writing the book and it's corning out well, that's a thrill; when you finish it and other people read it, that's a thrill. There are going to be reviews, of course; not everyone's going to love it. You feel sort of naked and vulnerable in a way. That's just a minor part of the process, really. If you can't take that part, you shouldn't be in the business. But there are so many joys to writing.
There were moments - I would be daydreaming - I would imagine scenes, even if there wasn't a camera around. In my head, I was acting.
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