A Quote by Jorge Luis Borges
We have a very precise image - an image at times shameless - of what we have lost, but we are ignorant of what may follow or replace it.
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Spaces may or may not invite the image - if they do, they mostly do it with their spatial layers of time... It is then the image that takes the place of the space; the image in its own right.
If you see an image and it's just an image, and there's a bad link or no description, and you don't know what that image is, or who took it, or what it's a picture of, it's not a very satisfying or actionable experience.
The image my work invokes is the image of good - not evil; the image of order - not chaos; the image of life - not death. And that is all the content of my constructions amounts to.
I took a very small image and blew it up to enormous scale. What happens when you do that is that the information in the image starts to become indistinct. The image darkens.
Sometimes I just think of an image. Basically, I see an image in front of me. My eyes are open, but I visualize an image, very truthfully. It happened with all my movies the same way.
When a sound can replace an image, cut the image or neutralize it. The ear goes more towards the within, the eye towards the outer.
As with sound, images are subjective. You and I may not see the same color red as red, but we will probably agree that the image on the screen is a digital image or film image, based on contrast, bit depth, and refresh rate.
A beautiful woman looking at her image in the mirror may very well believe the image is herself. An ugly woman knows it is not.
Every man carries within himself the eternal image of woman, not the image of this or that particular woman, but a definite feminine image. This image is fundamentally unconscious, a hereditary factor of primordial origin.
By an image we hold on to our lost treasures, but it is the wrenching loss that forms the image, composes, binds the bouquet.
The 'idea' for the poem, which may come as an image thrown against memory, as a sound of words that sets off a traveling of sound and meaning, as a curve of emotion (a form) plotted by certain crises of events or image or sound, or as a title which evokes a sense of inner relations; this is the first 'surfacing' of the poem. Then a period of stillness may follow.
I make one image—though 'make' is not the right word; I let, perhaps, an image be 'made' emotionally in me and then apply to it what intellectual & critical forces I possess—let it breed another, let that image contradict the first, make, of the third image bred out of the other two together, a fourth contradictory image, and let them all, within my imposed formal limits, conflict.
Film fixes a precise visual image in the viewer's head. In fiction, you just hope you're precise enough to convey the intended effect.
There is no need to change my image. I like my image, and the audience likes it, too. I am very comfortable with the kind of roles I do, and as I am not doing the same character or playing myself. I explore my characters; I don't brood over my broody image.
The image can only be studied through the image, by dreaming images as they gather in reverie. It is a non-sense to claim to study imagination objectively since one really receives the image only if he admires it. Already in comparing one image to another, one runs the risk of losing participation in its individuality.
It's quite simple: I managed it by doing away with Wham!'s duo image. Obviously, the way I looked changed and that helped a little, but I still have a very pop image. It's a very video-friendly image. I find it a lot more real. It's a lot closer to who I am than the whole Wham! thing.
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