A Quote by Mark Leyner

I guess I can picture things once they're done - I just can't picture actually doing them. — © Mark Leyner
I guess I can picture things once they're done - I just can't picture actually doing them.
I guess if we do enough shows and keep doing it long enough, then people will get the picture. But I can't really be bothered if they don't get the picture. That's not my concern.
When an artist paints a picture he does not want you to consider his personality as represented in that picture - he wants you to look at the beauty of that picture. No one cares who has painted the picture as long as it is beautiful.
I will be so glad to take the picture and pose and look good for the picture. But when you catch me while I'm looking real sideways and the picture's ugly as hell, I don't want you to have the picture like that!
Go to nature with no parti pris. You should not know what your picture is to look like until it is done. Just see the picture that is coming.
Really the truth is just a plain picture. A plain picture of, let's say, a tramp vomiting in the sewere. You know, and next door to the picture Mr. Rockefeller or Mr. C. W. Jones on the subway going to work. You know, any kind of picture. Just make a collage of pictures.
If you want me to explain the picture, if you put it in reality, then the mystery goes away. The situation just catches you and you think it is absurd or mysterious and you just take the picture. You dont want to see the bare reality of what happened. I took the picture as the picture, not as the realistic story of what happened.
I always think, 'What does this picture mean? What's the best place to put my camera? Do I have anything extra in the picture, things in the background that will distract? Am I in the basic position that will give the essential things for this picture but not too much?'
The artist is always concerned with a total view of the world. However, when the photographer takes a picture ... the edge of his picture is just as interesting as the middle, one can only guess at the existence of a whole, and the view presented seems chosen by chance.
Any good movie is filled with secrets. If a director doesn't leave anything unsaid, it's a lousy picture. If a picture's unsaid, it's a lousy picture. If a picture is good, it's mysterious, with things unsaid.
I've gone on Twitter, and I've seen a picture of me walking through the airport, or some random picture, and the person's like, 'Oh my God. I just saw Chilli.' They just take a picture, and it lets people know where you are. It's just crazy to me even when people do that.
I actually carry a little picture of a wolf in my wallet, rather like people carry a picture of their kids. The reason I do that is to remind myself why I'm doing this, to remind myself of the story.
Exotic novelty. My statement to [people] is always, well, set this picture in your home town, is it still an interesting picture? Or is it just exotic? Would I care about this same picture minus its exoticism?
If it's just brushstrokes wrestling around, it isn't much of a picture book, is it? There still has to be a picture. And maybe it needs to be a picture of a dog named Daisy or a little girl riding a bike. So I have to be careful before I get too carried away in the manner itself.
What have I done? I've blundered my way through life. So I have my picture on the wall. The minute I die, that picture will start to yellow and fade and eventually be gone. Blown in the wind and become part of the molecular structure of something else. These things we see as "success," they're non-accomplishments.
The job is trying to create movie shots that have depth, that have the meanings you need them to have, and then good enough so that they will add something to the final picture. They will make the picture; they'll get into the picture, and give them what they need. It's an interesting job.
One paradox I have found is that, the more you use computers in picture-making, the more hand-made the picture becomes. Oddly, then, digital technology is leading, in my work at least, toward a greater reliance on handmaking because the assembly and montage of the various parts of the picture is done very carefully by hand.
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