A Quote by Patti Smith

Polaroid by its nature makes you frugal. You walk around with maybe two packs of film in your pocket. You have 20 shots, so each shot is a world. — © Patti Smith
Polaroid by its nature makes you frugal. You walk around with maybe two packs of film in your pocket. You have 20 shots, so each shot is a world.
I shot my undergraduate work on 35mm. I love the way it looks, but I haven't shot film in a while. If you can avoid scanning, it makes your practice faster. Oh, and I shoot a lot of Polaroid, too. I have about five hundred Polaroids from my film that I hope to show soon.
The time to hurry is in between shots. It's not over the shot. It's timing how people walk. You have to add that to the equation. If you've got somebody walking slow and they get up to the shot and take their 20 seconds, what's the aggregate time for them to hit that shot in between shots? That's what really matters. It's not the shot at hand.
It's so exhausting in the pocket taking shots when you know I can go. I don't want to take that shot and maybe make a bigger play. To dedicate and discipline your mind that 'I have to find a way, that's the only way I can learn... ' That's the challenge.
I'm definitely a Polaroid camera girl. For me, what I'm really excited about is bringing back the artistry and the nature of Polaroid.
The only art I have is a Polaroid from Peter Beard from his book. I shot with him four years ago, and he did a special Polaroid for me, so I consider it a piece of art.
For me, it's just finding ways to create shots. I feel like if I got a shot off, it has a good chance of going in. So it's finding ways of creating different shots. Being smart. I watch film a lot, and different tricks that I can do to get my shot off the ball and creating ways to get shots off of pick-and-rolls or one-on-one situations like that.
When you're in a two-shot together, you can't be the same as when you're both in singles. Try as you will, it cannot be the same as when you're in the shot together. It simply cannot be. It's physically impossible. You're behind the camera desperately wanting to help your colleague. When it's just you, on your own, it can be self-conscious in a way that you're not when we're just talking, you and I, and then all of a sudden it's me and then it's you. The two-shots were probably more natural.
I plot the par 5s back from the green and make my plan. If I can reach the green in two shots, I'm going to be aggressive off the tee. But if 's a three-shot hole, the goal changes. You want to put yourself in position to hit your favorite shot to the green.
I had gotten up to two, maybe three, packs (of cigarettes) a day. And my lungs were bothering me and I'd had pneumonia two or three times. And I was also smoking pot, and I decided, well, one of them's got to go. And so I took a pack of Chesterfields and took all the Chesterfields out, rolled up 20 big fat ones and put it in there, and I haven't smoked a cigarette since then.
It makes it very easy. I have a beginning, middle, and end, and I don't film for long - about 20 hours usually for a two-hour film - so it's easily watchable in a week for me and the editor. Once I know who the characters are, I only film those characters, unless somebody else forces their way into the film by a scene happening to them or we meet them by chance.
Every shot feels like the first shot of the day. If I'm on the range hitting shot after shot, I can hit them just as good as I did when I was 30. But out on the course, your body changes between shots. You get out of the cart, and you've got this 170-yard 5-iron over a bunker, and it goes about 138.
When you play a tiebreaker, you dont have time to think of anything, ... You have to go for your shots because one shot can make such a difference. Thats the kind of shot that can break an opponent.
Everyone in the Lotus Eaters is so concerned with appearances, but there's an emptiness under the surface that they're trying to ignore. We talked about the theme of perception versus reality a lot with mirrors and masks what people were wearing - and we shot on two formats; we shot it on film and on digital, and a lot of the night-time scenes are film, and it looks better, and people can put on a mask and they can go out there and show an artifice to the world.
You look at the inner cities and you see bad education, no jobs, no safety. You walk to the grocery store with your child and you get shot. You walk outside to look and see what's happening, and you get shot. In Chicago 3,000 people have been shot since January 1st. I am not going to let that happen.
Once I started working with the Polaroid, I would take a shot and if that shot was good, then I'd move the model and change the lighting or whatever... slowly sneaking up on what I wanted rather than having to predetermine what it was.
The simple act of smiling at people makes the world a better place. Unless it's the day you decide to walk around with your dong out.
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