A Quote by Sean Stone
Direction is a thousand choices, a thousand decisions a day. And having a vision of what you want, and then knowing what you want frame-by-frame, second-by-second... if you don't have it laid out in the design and in the way the actor performs it, it's not going to happen.
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I have a way to photograph. You work with space, you have a camera, you have a frame, and then a fraction of a second. It's very instinctive. What you do is a fraction of a second, it's there and it's not there. But in this fraction of a second comes your past, comes your future, comes your relation with people, comes your ideology, comes your hate, comes your love - all together in this fraction of a second, it materializes there.
I have been heart broken. You can't breathe, your eyes are pouring a thousand tears a second and you can't foresee going on with love because you never want to feel this way again. But then you have to look in the mirror and say 'Shut up, eat some ice cream, be by yourself for a while and think about who you are and who you want to be - then, go out and find someone compatible.' A broken heart feels like the worst thing in the whole world, but it really helps you decide what you want and don't want. You learn a lot from a broken heart.
There in front of me was the Senator on the floor being held by the busboy. There was nobody else around, and I made my first frame, and I forgot to focus the camera. The second frame was a little more in focus... then just for a second, while everything was open, the busboy looked up, and he had this look in his eye. I made that picture, and then suddenly the whole situation closed in again. And it became bedlam.(On the 1968 shooting of U.S. presidential candidate Bobby Kennedy.)
The white blouse can be light and floating, impeccable and austere, sumptuous and all-enveloping, tight and close-fitting. It rises up to frame the face. It sculpts the body by transforming itself into a second skin. Imputed with glamour and poetry, freedom and impetuousness, the prim white shirt turns out to have a thousand identities.
And I realize that the decision to be human is not one single instant, but is a thousand choices made very day. It is choices we make every second and requires constant vigilance. We have to fight to remain human.
I have control over every single frame on Blu-ray. If I want a scene bluer, I get that scene bluer. Originally, there was some fluctuation with the prints. If you made a thousand, or a few thousand prints, there is no control over any of that. But now I can make a master using the digital process.
The balance of the frame - the way an actor is relating to the space in the frame - is the most important factor in helping the audience feel what the character is thinking.
I've had such a great run with The Dutchess...and now this. You know, it is so interesting how in this business, the second you start dating they want to know if you're engaged. The second you're engaged they want to know when you're going to be married. The second you're married, they want to know when you're having children.
A year. A thousand kisses. And now a thousand one, a thousand two. There are so many other place we could have ended up, but I have to believe none of them would have felt this right. "All I want is you" is not entirely true. I want so much more, and with you I think I can get it.
Frame is a good enough piece of software that there are actually rewards to taking an intelligent and formal approach to your problem. But if you want to be stupid, you can think of Frame as a version of Microsoft Word with most of the bugs taken out.
I am very excited to work with people who have a strong vision of what they want. They're trying to tell a story, and they want to use me. I'm there to facilitate that. I really like that. I'm like, "Tell me where your frame is. Tell me what you want, what kind of story you want, and I will facilitate it." That's sort of my job, and it makes my work better when I'm working in that kind of a frame, and hopefully it's their work. It's incredibly collaborative, in the sense that you're working toward a common goal.
A day to God is a thousand years,
Men walk around with a thousand fears.
The true joy of love brings a thousand tears,
In the world of desire, there's a thousand snares.
I'm actually going to self-produce my next tape that I'm working on, 'Platinum Frame'. This going to be my second official mixtape.
The way I write is this: I write about a thousand words a day, a little bit more. The next morning, I read those thousand words and cursorily edit that. Then I write the next thousand. I do that all the way to the end of the book and then I reread the book quite a few times, editing as go through.
Every day the eye is subject to a thousand tiny shocks as a thousand industries compete for the eye-kick, the visual hook that will lock the consumer into product for that crucial second where the tiny - or not so tiny - leap of the imagination is made.
I think about photographs as being full, or empty. You picture something in a frame and it's got lots of accounting going on in it-stones and buildings and trees and air - but that's not what fills up a frame. You fill up the frame with feelings, energy, discovery, and risk, and leave room enough for someone else to get in there.
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