A Quote by Scoot McNairy

Not all pictures but some pictures you're like, "Wow, I wish I could be there" or you feel like you are there. I don't know what it is about cinematography. — © Scoot McNairy
Not all pictures but some pictures you're like, "Wow, I wish I could be there" or you feel like you are there. I don't know what it is about cinematography.
I don't post pictures of my grandchildren unless I get permission. I'm really respectful about that. If I feel like anything is invasive of someone's privacy, I don't do that, either. Sometimes I have great pictures, but I'm like, 'Eh, maybe this is not right.'
When I think of high school, stills are so important: it's all about the wallet with the kids - they define themselves with pictures, who they know, whose pictures they have. Yearbook pictures.
Wow, I wish I could have done something like that.” That’s the thing, with other filmmakers, if I like them I just feel admiration. And yes, I usually say, “I wish I could have been part of that creative process,” because the films I admire like that are so specific that I know the creative process is also so specific, it’s nothing you could just imitate.
Pictures! Pictures! Pictures! Often, before I learned, did I wonder whence came the multitudes of pictures that thronged my dreams; for they were pictures the like of which I had never seen in real wake-a-day life. They tormented my childhood, making of my dreams a procession of nightmares and a little later convincing me that I was different from my kind, a creature unnatural and accursed.
I feel like I become somebody else when I do the pictures. I don't like doing pictures as myself. I like to be made into somebody different.
On things she had to pack before leaving her home in advance of a forest fire, 1996. Childhood pictures and pictures of my life. Do you know how many pictures that is? Not just this life; I have pictures from 13,000 lives.
I know I play into that image out there, but I try to say it is a fantasy. I look at my own pictures and wish I could look like that. There are probably five people in this whole entire world who actually look like that.
I don't like pictures in books. I feel that the pictures diminish the words, and the words diminish the pictures, and it doesn't work.
When I'm writing, I'm creating the story and its character with words. I'm thinking about what the pictures will be like, but I never begin to sketch. The pictures are all in my head.
I like hiding somewhere, like, say on a bus street in a doorway, and taking pictures without people knowing - which sounds really creepy....You get some of the most interesting pictures because people are walking past not realising you're there.
There's this thing that publishes pictures of people out and about. So when I go out, I do see pictures of myself. I don't know where those pictures come from - I mean, I don't see the cameras. But I guess I'm just not looking for them.
I'm kind of selective of the people that I take photos of. Like, I don't take pictures of just my friends, but I do like taking pictures of just some of my close mates, especially out in L.A.
Small pictures since the Renaissance are like novels; large pictures are like dramas in which one participates in a direct way.
I don't like gimmicky pictures; I've always hated them. I like pictures that are very clear and clean, whether you're a great street photographer - somebody like Friedlander or Winogrand or Cartier-Bresson - or whether you're a portraitist, like Irving Penn.
Some of my pictures are poem-like in the sense that they are very condensed, haiku-lik. There are others that, if they were poetry, would be more like Ezra Pound. There is a lot of information in most of my pictures, but not the kind of information you see in documentary photography. There is emotional information in my photographs.
I like taking pictures of other people more than I like to take pictures of myself.
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