A Quote by Paul Greengrass
With the dramatic canvas, I found you could still operate with the documentarist's observational eye.
Related Quotes
Honestly, I had no idea that the heart could cause such trouble and strife. It could be broken and still mend. It could be wounded and still heal. It could be given away still returned, lost and found. It could do all that and still you lived, though according to some, only just.
I can act with either eye, but you've got to be twice as good as an actor to act with one eye. You need to put all your emotions just through one eye and really punch it out of that eye. I found it quite difficult to do at first, and then I found a technique that allowed me to act with one eye, which I patented.
This is about relationships, about the placement of potent colors and the canvas sparkling through. I want the eye to dance across the canvas but direct you, too.
Sargent, when he painted the size of life, placed his canvas on a level with the model, walked back until canvas and sitter were equal before his eye, and was thus able to estimate the construction and values of his representation.
The camera was waiting for me by predestination and I took to it as a musician takes to the piano or a painter to canvas. I found that I was master of the elements, that I could work miracles.
I don't quite fit in in like a pure dramatic thing, but I still think of myself sometimes as sort of a dramatic actress.
I used the stormy gray and heather brown shadows from the Lilac Rose Eye Palette to create a soft smokey eye for Veronica Beard's Spring 2013 show. The look was dramatic but delicate.
No one would want to pay a penny for an empty canvas by me. But it would be quite another if the empty canvas were signed by a great artist. I would be surprised if an empty canvas by Picasso or Matisse signed and inscribed with the words, 'I wanted to paint such and such on this canvas, but did not do so,' would not fetch thousands... After all, with an empty canvas, the possibilities are limitless, and so perhaps is the cash.
I found earthquakes, even when I was in them, deeply satisfying, abruptly revealed evidence of the scheme in action. That the schemes could destroy the works of man might be a personal regret but remained, in the larger picture I had come to recognize, a matter of abiding indifference. No eye was on the sparrow. No eye was watching me.
Even on guitars I've had misfortunes. I never used to clip the strings on my guitar and then one day I accidentally poked my right eye with the E-string. My eye just wouldn't stop tearing up and I could barely keep it open. The doctor said I didn't do any major damage, but I had to wear a patch for a little while. I still have a tiny red mark on my eyeball from it; I'm still not sure it's the same.
Representatives of the American intelligence agencies - and I hope they won't be angry - but they could have been more professional, and the diplomats as well. After they found out that he was flying to us, and that he was flying as a transit passenger, there was pressure from all sides - from the Americans, from the Europeans - instead of just letting him go to a country where they could operate easily.
I always found the dramatic side of things easier than the comedy, because there's so many ways to do comedy, and it's also subjective. Someone might not laugh at what you do, whereas if you're going to do a dramatic scene, there's usually only one way you can do it.
I'm getting to the end of my magnifying glasses now. One eye's gone completely. The other is gradually dimming. Dimming - that sounds very dramatic, doesn't it? I'm so lucky. I can still make a living - and the same kind of living.
My standup is observational, but it's self-observational, and it's self-deprecating, definitely.
You wind up creating from silence, like painting a picture on a blank canvas that could bring tears to somebody's eyes. As songwriters, our blank canvas is silence. Then we write a song from an idea that can change somebody's life. Songwriting is the closest thing to magic that we could ever experience. That's why I love songwriting.
If you take a good look at the book [ Stock Photographs], it's largely a portrait gallery of faces - faces that I found dramatic. And some of those turned out to be reasonably dramatic photographs. But that's all it is, I think.
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