A Quote by Michael Pollan

Journalism is one set of tools - one toolkit I have. One vocabulary, one lens. — © Michael Pollan
Journalism is one set of tools - one toolkit I have. One vocabulary, one lens.
In the 21st century, you have to use technology as one of the tools in the toolkit to bring about social change.
I was painfully shy when I was a kid. I always thought when most people were born, part of the toolkit was teaching you how to relate to other people - and it was just left out of my toolkit.
One of the first things I do when I step onto a set is I scan the set and try to take in every detail, because what I'm trying to find are tools that I can use to incorporate myself into the space and tools that I can use to make the performance authentic and to build on the authenticity of that.
The war we are fighting today against terrorism is a multifaceted fight. We have to use every tool in our toolkit to wage this war - diplomacy, finance, intelligence, law enforcement, and of course, military power - and we are developing new tools as we go along.
I am a writer who happens to use some tools of journalism.
Words are the basic tools, if you are a writer. But why? Why do you choose one set of tools rather than another?
I shot the way I wanted to shoot [in The Hateful Eight]. The only real disadvantage I felt at the time, but I don't feel now, was that we weren't able to get a zoom lens, and I had really gotten used to using a zoom lens for that little zoom creep. But it was also a nice thing to be forced to not use all the tools that you've gotten used to, from time to time, and to be able to work in a different way.
Anyone who does investigative journalism is not in it for the money. Investigative journalism by nature is the most work intensive kind of journalism you can take on. That's why you see less and less investigative journalism at newspapers and magazines. No matter what you're paid for it, you put in so many man-hours it's one of the least lucrative aspects of journalism you can take on.
I've created a vocabulary of different styles. I draw from many different ways to take a picture. Sometimes I go back to reportage, to journalism.
We make tools for people. Tools to create, tools to communicate. The age we're living in, these tools surprise you. ... That's why I love what we do. Because we make these tools, and we're constantly surprised with what people do with them.
... Don [Hewitt, 60 Minutes exec producer] told me, "You have set broadcast journalism back 20 years." Naturally, I was both proud and elated although too modest to say so, but broadcast journalism recovered with alacrity, my contract wasn't renewed, and the incident was forgotten.
The precise effects of lensing depend on the mass of the lens, the structure of space-time, and the relative distance between us, the lens, and the distant object behind it. It's like a magnifying glass, where the image you get depends on the shape of the lens and how far you hold it from the object you're looking at.
As photographers, we have to find our own identity, our own voice, our own vocabulary. And my question all the time is whether this vocabulary is limited, like our own vocabulary that goes from A to Zed, or whether this vocabulary can carry on growing. And to me, I hope that it carries on growing.
My mission is to change the way people see the world. Everybody has a perspective or a lens they see things through, and hopefully I can adjust that lens or change that lens so that they see things from a different perspective, a different lens.
You are merely the lens in the beam. You can only receive, give, and possess the light as the lens does. If you seek yourself, you rob the lens of its transparency. You will know life and be acknowledged by it according to your degree of transparency - your capacity, that is, to vanish as an end and remain purely as a means.
It had also been my belief since I started writing fiction that science fiction is never really about the future. When science fiction is old, you can only read it as being pretty much about the moment in which it was written. But it seemed to me that the toolkit that science fiction had given me when I started working had become the toolkit of a kind of literary naturalism that could be applied to an inherently incredible present.
This site uses cookies to ensure you get the best experience. More info...
Got it!