A Quote by Seungri
I wanted to emphasize the fact that I'd matured. I wanted to break away from the image of being the youngest member of Big Bang, as well as the image I gave off on variety shows.
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What interested me in film was the image-making aspect of it. So, I went to school in cinematography. I was really convinced that image was what I wanted to do, and I think it came from the fact that I lived in a small town my whole life, but my mother was very interested in painting, so she would bring us to Paris for two weeks. So, we're going to the Louvre and to the museums and to see shows. In the evening we were seeing theater. Painting is basically what led me. I think the image was key.
I wanted to play a domestic help all my life... Because I wanted to break my image.
I'm only wanted by directors for the image I give off, and it makes me angry. I always wanted to be an actor and not a beauty pageant winner.
The image of a bedsheet ghost standing all alone in an empty house was something I was obsessed with. I really wanted to make a film about that image, and I was waiting for the right story to come along. When it did, I did my best to honor that image.
I wanted to jeopardize my own image. With my image I had already produced art pieces such as videos of photographs.
Men, also, have in them enormous capacities that they have to repress and fear in themselves, living up to this obsolete and brutal man-eating, bear-killing, Ernest Hemingway, crewcut Prussian sadistic, napalm all the children in Vietnam, bang-bang you're dead, image of masculinity, the image of all powerful masculine superiority that is absolute.
There are a variety of reasons. Not all Western leaders are equal. We have to make a certain separation from naïve Americans and Europeans. These are two different categories. For the Europeans, it affects the image of the "New Europe." The false image of Europe is that it is peaceful, separate from the past. Now the image of the New Europe is a radically false image.
My career always involved being the person in charge of what I was portraying to people. "I never wanted to be an image of something I didn't believe in, an image that somebody else had put together. The idea of that just really scared me, more than the idea of failing.
The image my work invokes is the image of good - not evil; the image of order - not chaos; the image of life - not death. And that is all the content of my constructions amounts to.
In the 1920s, everyone wanted to be a celebrity. Everyone wanted to be like Babe Ruth or Charles Lindbergh. ... Businessmen, in particular, in the '20s really believed that to be a success, an entrepreneur needed to have a personality, a sense that you were a success. That's why I think Capone dressed the way he did. And that's why he entertained the press — because he wanted to be perceived as a successful American. Dale Carnegie ... would later cite Capone as a model for creating the public image. Obviously, it went bad in many ways for Capone, but that's the image he was going for.
In art school, they teach you to struggle through the process: If you have your image down, you've painted it, and it's not looking the way you wanted it to, you can do wet on wet - you just keep moving the image around.
The first time I saw E.T., the actual image of an alien, and he was so sweet-looking. I wanted him. I wanted E.T.
I wanted to be in a band that gave bang for the buck. I wanted to be in the band who didn't look like a bunch of guys who, you know, should be in a library studying for their finals.
I don't think I have an image of being an underground musician. I have an image of being an uncompromising musician, and I am well known in Norway partly because of that.
Billions of years ago, you were a big bang, but now you're a complicated human being. And then we cut ourselves off, and don't feel that we're still the big bang. But you are.
The language of the moment or, as it were, the language of the order in which we live, is the image. I felt that if I wanted to commune with the public, I should best do so through the language of image. It's a conscious embrace of a contradiction.
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