A Quote by Quentin Tarantino
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.
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I feel like Zoom is not a part of Zoom anymore. Zoom belongs to the world now.
I love to zoom in and study why a chord is making me feel a certain way, but then I've learnt to zoom out again. Because if I'm not actually feeling it, there's not much point making it in the first place.
The best zoom lens is your legs.
I think the one thing about the Zoom calls is unlike being in a room with people where you can look away or drift off, I feel like with Zoom, everyone's face is just dead center, head on, there is no drifting. It takes a lot of energy from me.
Comcast rents modems directly to consumers, thereby competing directly with companies like Zoom. It has every reason to make Zoom modems more expensive or even to drive companies like Zoom out of business.
My lab and academic work fill my day from about 9 am to 7 p.m. Then I zoom out the lens to work on my other writing.
The film camera's ability to physically move through space, not zoom through space - every time we have a video camera the movement is through zoom; every time we have a film camera it is a physical movement.
I had taken the photograph from afar (distance being the basic glitch in our relationship), using my Nikon and zoom lens while hiding behind a fake marble pillar. I was hiding because if he knew I'd been secretly photographing him for all these months he would think I was immature, neurotic and obsessive. I'm not. I'm an artist. Artists are always misunderstood.(Thwonk)
This uses a lens system, which I have used for years in various different ways, but I've never used it in the context of an interview. This is the very first time that I've done that. It's a lens called The Revolution, so it allowed me to interview Elsa [Dorfman] and actually operate the camera. Well one of the cameras, because there were four cameras there.
When you step in to act, you just zoom way in on the longest possible lens and you're just totally in the point of view of your character and you have to forget about everyone else. You don't care about what anybody else is, what they want or what they're trying to do. You're just concerned with your circumstances, what you're trying to get out of someone or some scene.
We spend so much time, these days, on forms of literature that don't rise to be literature, and I'm speaking about Twitter posts and quick and hot takes on different websites. We sort of zoom from thing to thing like a hummingbird.
I don't remember the first picture I took, but I actually found a picture of myself on a trip back to my old family home in Malaysia. I'm five years old, sitting on the floor with the family camera in my hand. It was a film camera - not a DSLR - with a fixed lens and a nice manual zoom.
Shame works like the zoom lens on a camera. When we are feeling shame, the camera is zoomed in tight and all we see is our flawed selves, alone and struggling.(page 68)
I never really felt apprehensive because of my voice because after a while I'd gotten used to it, so I figured it would only be a matter of time before everybody else got used to it.
I used to catch and take a big dip down and then finally I'd try to shoot. That first year playing the NBA, I was realizing how little time you have to shoot the ball. The time you have from when you catch it to the guy closing out is just a split second. So I had to figure out a way to get my shot off quicker. Then it was just repetition.
Our subjective experience of time is highly variable. We all know that days can pass like weeks and months can feel like years, and that the opposite can be just as true: A month or year can zoom by in what feels like no time at all.
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