A Quote by Slater Bradley

I think photography is so hard. To be working in video and photography the past 20 years - because I was doing it in high school - you're dealing with mediums that change culture. The way they are distributed, disseminated - it's changed so dramatically. One of the things I always like to do is look at the structure of something and detach myself from the structure and figure out how to slightly alter it. So if the structure itself is constantly liquidated, it just really is difficult for me to really even know what to think of Instagram.
Photography should be redefined. It's largely technical... Photography is just unbelievably limiting. I always think of David Bailey and all the fashion photographers - they overlap, you can't always tell who did it. I don't really even like photography all that much. I just think it's so overdone.
I would never be essentialist about sexuality and structure, but I do think there's a way in which this male-arc has been talked about as the only structure, and kind of a stand-in for even the word structure, instead of looking at other forms.
What's interesting to me is that in terms of people who I feel are getting what my game is about - and here I'm not even talking about what the elements of the story mean, like, whatever symbolism and metaphors and things are in there. But even the structure of the game, like, there's a fundamental structure and reasons in the way things are laid out, and parts of the game that are meant to draw people's attention to certain things, regardless of what's contained in that structure. And what's interesting to me is that some people get that, and some people don't.
I'm used to structure, and the relationship I have with my mom, from a military standpoint, is all about structure. There's a certain way of doing things. My mom knows how to focus on different situations. What I learned from her helps me out every night I play.
I like structure - like driving: go past the school on the street, stay on the right side, no hitting the car, go in right, you'll see a big church, stop and take a left, and you'll have it. By doing this I'm giving a structure of life, a path of light, and showing what happens between me and me, which is something very beautiful.
It's strange, but something about lack of structure needs a structure itself. Otherwise, after a while, it's like looking at a Rothko painting or a Peter Greenaway film. You think, 'OK, I want to see something else now.'
I took a break after 'Confessions.' I was real picky. And then I suddenly realized I hadn't worked in a year. And I was sort of, like, not really happy. I think people are happier when they have structure, you know? You realize that as you get older. You have to have rituals and structure.
I'm a Jesuit when it comes to structure, but I really think that structure is defined by character. Everything serves that master.
After I left the Nets, I found out what it takes to not just make the Finals, but to win a championship. I think I have a sense now of how you build a championship structure and how you maintain that structure.
It's shot by Ben Rayner who I think is very talented at doing portrait photography as well as fashion photography. His images never look like a model. You know, it doesn't look like a faceless model just wearing whatever. There's always personality that comes through. That was quite important for me to capture.
Because I'm a novelist, I think in terms of structure. The way I keep going is through structure. It's what inspires me and pushes me through.
Improvisation in general is good, and improvising material into themes, turning the material into something codified and repeatable, taught me scenic structure and dramatic gambits that work and things that are appealing both as a performer and an audience member, like you know, what does "want" really mean in a scene, and how do you achieve your want, and how is that expressed, and how do you achieve closure? Those are all things that I learned performing at the cabaret after just doing the same scenes over and over and over again over the years, with my own ability to change.
What I do, basically, is look at things from different angles. That is what I do on stage comedically, and that is what I do in art. I was always fascinated by the structure of things, why things work this way and not that way. So I like to see how things behave if you change the point of view.
There have been prophets and students who handle the Bible like a child's box of bricks; they explain to us the design and structure and purpose; but as time goes on things do not work out in their way at all. They have mistaken the scaffolding for the structure, while all the time God is working out His purpose with a great and undeterred patience.
I think people are happier when they have structure, you know? You realize that as you get older. You have to have rituals and structure.
I think a very good system in a world with a lot of passive investors is one in which there are at least a few entrepreneurial investors, prepared to say what they think, prepared to propose a change in management, change in strategy, change in cost structure, capital structure.
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