A Quote by Richard Kern

It's like a visual connection between the girl I'm shooting and me, a bunch of triggers. A lot of girls I'll just shoot once or twice, but with certain special ones I'll go a bit further.
I love the digital camera because it makes shooting easier and economical. I shoot fast, and I can shoot a lot. I shoot rehearsal; I just keep on shooting nonstop.
Yeah, I shoot. I shot with my dad a little bit when I was little. He was a Marine, so it wasn't like he would take me to the ballet. We would go to a shooting range. It was the only thing he knew to teach his little girl how to do.
We are extremely precise about the girls we like; they're not necessarily the "It" girls of the season. Sometimes this "It" girl business gets a bit hysterical. It's all about which girl did which shoot with which photographer.
I think that a lot of men, especially once they're married, feel like their girl is just who she is, so don't treat her too special. They shut her off, and having sex before you go to bed is like a sleeping pill. I always say, you're supposed to remember the reason you even asked that girl out.
The only real difference between shooting 'Firefly' and 'Serenity' was that on 'Serenity,' we had a lot more freedom with time. When you're shooting a television show, you usually have anywhere between six and nine pages of script to shoot a day, and only twelve hours to do it. But with 'Serenity,' we could shoot one scene all day long.
I do a bit called, 'You go, girl!' where I say, 'Don't tell me 'You go, girl!' I get it. I don't need you encourage me.' And nine times out of 10 after I finish the bit, some guy in the back will yell 'You go, girl!' I get a lot of that or 'I hear ya!' I don't generally - knock on fake wood - get mean heckling.
We would just go out and line up a bunch of cans and shoot with rifles, handguns and at times, submachine guns... When I was a kid it was a controlled atmosphere, we weren't shooting at humans... we were shooting at cans and bottles mostly. I will most certainly take my kids out for target practice.
But I still definitely go to H Mart probably like once or twice a week to get my groceries. It's a very special place to me.
You know, a lot of girls go out with me just to further their careers...damn anthropologists.
There's no compromise to me in what I'm doing. I'm trying to make songs that I love and make them feel a certain way and go to certain places. It just so happens that a lot of 13-year-old girls like that.
I like both athletic girls and girly girls. It depends on their personality. I like girls who can go out and play sports with me and throw the football around, but you don't want a girl who's too much tougher than you. I like brainy girls who can respond to what I'm saying.
I've been a visual artist my entire life, so translating music to imagery has always come naturally to me. Tycho is an audio-visual project in a lot of ways, so I don't see a real separation between the visual and musical aspects; they are both just components of a larger vision.
Some directors, like Stevens [George Stevens], shoot full circle, 360 degrees, and that's what's right for them. I generally shoot at about a seven to one ratio. But part of that is because I've worked on every screenplay, so I'm further along in the visual concept.
You know a lot of times you'll find girls in a club are jaded to the other girls in the club. There's a nasty vibe between the chicks in the club. It's like a pretty girl can't look at another pretty girl and say Wow she's pretty.
A lot of girls annoy me who go to university - one girl told me she was going to Oxford because it was something to do between leaving school and getting married. And I've got to pay for that being an income tax payer.
I have had big relationships. Three times in my life I have felt a special connection, but people talk about looking for love as if it's just like walking into a Starbucks and buying a coffee when you feel like it. It's rare, that special connection.
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