A Quote by Lennart Nilsson
And I remember that the editors wanted to have a witness to say that this was really the case, because it was a very sharp picture of the just the face, the head of the fetus inside the womb.
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For the fetus, though enclosed in the womb of its mother, is already a human being, and it is a monstrous crime to rob it of the life which it has not yet begun to enjoy. If it seems more horrible to kill a man in his own house than in a field, because a man's house is his place of most secure refuge, it ought surely to be deemed more atrocious to destroy a fetus in the womb before it has come to light.
We would not think of allowing a man to determine a woman's life merely because a fetus he helped create was in her womb; then why would we allow a woman to determine a man's life merely because a fetus he helped create is in her womb?
I put a lot of pressure on myself to figure out what to say and, lately, I've started trying to work through things in my head. Before, I wouldn't trust my instincts or what I wanted to say and I really struggled with what I wanted to say. I guess it's just the classic case of writer's block and learning how to work through that. I'm slowly learning how.
Alice suspected Paul couldn’t really picture his father, just like she couldn’t picture Paul when he was away. Maybe that was the case with people you wanted more than was good for you.
I never hit a shot, not even in practice, without having a very sharp, in-focus picture of it in my head.
I like having my picture taken and being a glamorous person. Sometimes when I find myself getting impatient, I just remember the times I cried my eyes out because nobody wanted to take my picture at the Trocadero.
You have to be very careful to view yourself with a somewhat skeptical eye and to remember that you're not here taking down everything I'm saying because you think I'm such a marvelous fellow but because your editors say go get 1,200 words or whatever on Chuck Heston.
Life wanted faces that would express what we wanted to tell. Not just the unusual or striking face, but the face that would speak out the message from the printed page. I am always looking for some typical person or face that will tie the picture essay together in a human way.
I do not remember very many things from the inside out. I do not remember what it felt like to touch things, or how bathwater traveled over my skin. I did not like to be touched, but it was a strange dislike. I did not like to be touched because I craved it too much. I wanted to be held very tight so I would not break. Even now, when people lean down to touch me, or hug me, or put a hand on my shoulder, I hold my breath. I turn my face. I want to cry.
We fell in love with different people. Looking back, we might have done it in a different order, but we got invested. We really wanted to do the flashbacks because we wanted to explore who these women were on the outside versus the inside, and get a fuller picture of the masks we wear.
The intelligence community, in particular the FBI, have been sounding alarms about this for more than a year. So to argue that suddenly we have to do this because of the San Bernardino case doesn't really pass the straight-face test. I mean, they've been talking about this. And to say, well, it will only apply to this case, that just - that doesn't wash. This is a major piece of public policy.
I have total recall. I remember being born. I remember being in the womb, I remember being inside. Coming out was great.
Some people say they use images to help them remember intricacies. Others say they just remember. If they are able to form an image of the face, it is because they remember how it was: it is not that an image guides memory, but that memory produces an image, or the sense of imaging. We have no agreed way to talk clearly about such things.
When I ask Plutarch about his absence, he just shakes his head and says, "He couldnt face it." "Haymitch? Not able to face something? Wanted a day off, more likely," I say. "I think his actual words were 'I couldn't face it without a bottle,'" says Plutarch.
I learned capacity for self-reflection very early, finding it through interior monologues that books are so good at and that visual media is so bad at because it's so boring - nothing's happening. In a book, you can be inside the narrator's head for 50 pages, and nothing needs to happen. Then you learn to be inside your own head without something needing to happen. It's a very good antidote to a crazy, restless, "what's next?" culture - that you can just be in your own head and nothing is happening except that this is a rich place. I love that.
I was really, really, really nervous when I got this role because I did feel it was important to make Alice [Cullen] just as lovable as I read her being on paper and, kind of, full of vitality. In my head she is just this light and breath of fresh air in very dramatic settings - because I feel like we're always extremely dramatic in this film. I wanted people to be able to relate to her.
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