A Quote by Masashi Kishimoto

I like the way Quentin Tarantino creates a scene using a series of close-ups or showing very cool images of a person or people walking on some ordinary street in slow motion. I wish I could achieve that kind of slow-motion effect in manga, but it's rather difficult to draw; the only things we can play with are tones of black and white.
Watching a scene from a film in slow motion is possible, but there’s an unreal air to it; reading a passage from a book slowly does nothing to rob the words of their power. A film presents images; a book creates images inside the reader, with the reader’s active participation. Books are good for your brain.
Dance is in the air, pirouettes, very difficult. Mime is on the floor, like Spanish dancing perhaps, and very often in slow motion.
I guess I'm fascinated with motion because I find that whenever anything is moving, I have some feeling about it. It doesn't matter what kind of motion it is. A motion will always evoke some kind of reaction.
You know the slow-motion walking shot in "Reservoir Dogs"? That was in the Tommy Udo tradition. That strut, that way of wearing your suit, is what I think gangster chic is.
Popular culture isn't a freeze-frame; it is images zapping by in rapid-fire succession, which is why collage is such an effective way of representing contemporary life. The blur between images creates a kind of motion in the mind.
In the real world there are many tones, from white at one extreme, through a large number of medium tones to black at the other extreme. To achieve a three-dimensional effect on paper you need just three - white, black and medium gray.
I think so many things look like a penalty in slow motion.
We are suffering from a kind of slow-motion barbarization from within.
When I have a match to play, I begin to relax as soon as I wake up. Everything I do, I do slow and easy. That goes for stroking the razor, getting dressed, and eating my breakfast. I'm practically in slow motion. By the time I'm ready to tee off, I'm so used to taking my time that it's impossible to hurry my swing.
When you shoot at slow-motion, or a high frame rate, it makes it really difficult to rack focus.
There are times where you're in the zone and everything moves in slow motion, and there's sometimes when everything goes really fast and you have to slow yourself down.
I saw Quentin Tarantino's 'Django Unchained,' and you could say a lot of things against it, but it was incredible fun. I don't like blood and gore and I am very squeamish about violence, but Tarantino's violence is actually funny.
I saw Quentin Tarantino's 'Django Unchained,' and you could say a lot of things against it, but it was incredible fun. I don't like blood and gore, and I am very squeamish about violence, but Tarantino's violence is actually funny.
My first yak was fairly quiet and looked a noble steed with my Mexican saddle and gay blanket among rather than upon his thick black locks. His back seemed as broad as that of an elephant, and with his slow, sure, resolute step, he was like a mountain in motion.
You know, people ask, "How does the chemistry happen?" It's like being in a bar when you're drunk. You see the person, and you don't know why, it just works. And it's like everything goes in slow-motion.
Violence is so terribly fast . . . the most perverse thing about the movies is the way they portray it in slow motion, allowing it to be something sensuous . . . the viewer's lips slightly wet as the scene plays out. Violence is nothing like that. It is lightning fast, chaotic, and totally intangible.
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