A Quote by Tallulah Bankhead

They used to photograph Shirley Temple through gauze. They should photograph me through linoleum. — © Tallulah Bankhead
They used to photograph Shirley Temple through gauze. They should photograph me through linoleum.
I do not photograph for ulterior purposes. I photograph for the thing itself - for the photograph - without consideration of how it may be used.
Shirley Temple doesn't hurt Shirley Temple Black. Shirley Temple helps Shirley Temple Black. She is thought of as a friend - which I am!
A photograph never grows old. You and I change, people change all through the months and years but a photograph always remains the same. How nice to look at a photograph of mother or father taken many years ago. You see them as you remember them. But as people live on, they change completely. That is why I think a photograph can be kind.
I remember feeling enormous pressure because I didn't want to be Shirley Temple. Shirley Temple was Shirley Temple, and I didn't ever feel like I could live up to that.
How foolish of me to believe that it would be that easy. I had confused the appearance of trees and automobiles, and people with a reality itself, and believed that a photograph of these appearances to be a photograph of it. It is a melancholy truth that I will never be able to photograph it and can only fail. I am a reflection photographing other reflections within a reflection. To photograph reality is to photograph nothing.
Someone said to me, early on in film school... if you can photograph the human face you can photograph anything, because that is the most difficult and most interesting thing to photograph.
When I paint from a photograph, conscious thinking is eliminated. I don't know what I am doing. My work is far closer to the Informel than to any kind of 'realism'. The photograph has an abstraction of its own, which is not easy to see through.
When you photograph people in color you photograph their clothes. When you photograph people in black and white, you photograph their soul!
I didn't really know what I was looking at when I first came across Man Ray's 'Dust Breeding,' his photograph of a work by Marcel Duchamp called 'Large Glass.' It looked like an aerial photograph or a view through a microscope.
All of us tend to look at photographs as if we are simply gazing through a two-dimensional window onto some outside world. This is almost a perceptual necessity; in order to see what the photograph is of, we must first repress our consciousness of what the photograph is.
Ideas for songs can come from something as simple as a photograph and letting my imagination run wild on an old photograph that I found, or to a film that I have seen or to just most of the time, just daily walking through life and keeping your eyes open.
What if I said that every photograph I made was set up? From the photograph, you can't prove otherwise. You don't know anything from the photograph about how it was made, really.
I did photograph Angelina Jolie up in Vancouver when she was making 'Life Or Something Like It', and they gave me the drawings they wanted me to photograph of her up there, but she didn't really care for them that much, and ultimately they weren't even used.
The photograph is a tool used to take you back to a certain point in one's life, to remember a face or a place you once stood. I feel there is always something quite melancholic about a photograph.
I think I am most fond of the unseen part. I mean that the various cultural experiences that I go through, and the behavioral aspects of getting the work done, are just as important as the installation and the photograph. So, for me, the relationship between the two is more about hybridism and the search for an ideal form that I'm never going to arrive at. The installation and the photograph are mere approximations of this ideal.
To go and photograph an airbase is not only to photograph something but it is to insist on one’s right to photograph. You’re flexing that right.
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