It's a weird scene. You win a few baseball games and all of a sudden you're surrounded by reporters and TV men with cameras asking you about Vietnam and race relations.
If everyone's on the same page, doesn't matter what race, what background, what religion you are, if everyone comes together like a good, solid football team, baseball team... that's how you win games. It's easy.
I think cameras ought to be everywhere the reporters are allowed to go. I think, furthermore, reporters and cameras ought to be everywhere that the Constitution says the public can go.
I go from pub to pub, or jumping on buses or stopping cars. I don't need a TV audience. Every time I go naked, all of a sudden TV cameras pop up around me.
TV cameras seem to add ten pounds to me. So I make it a policy never to eat TV cameras.
More and more movies have been pressured to allow reporters and TV cameras to come onto the set while you're working, and I find that a real violation
More and more movies have been pressured to allow reporters and TV cameras to come onto the set while you're working, and I find that a real violation.
Walking down the red carpet, suddenly I felt very special and different. All the flashlights from cameras and requesting voices from the media, the scene, it was just like what I remembered seeing on TV or a movie when I was a little girl - the scene only when movie stars appeared.
Oh, the places you'll go! There is fun to be done! There are points to be scored. There are games to be won. And the magical things you can do with that ball will make you the winning-est winner of all. Fame! You'll be as famous as famous can be, with the whole wide world watching you win on TV. Except when they don't Because, sometimes they won't. I'm afraid that some times you'll play lonely games too. Games you can't win 'cause you'll play against you.
Unlike regular digital or film cameras, which can only record a scene in two dimensions, light field cameras capture all of the light rays traveling in every direction through a scene. This means that some aspects of a picture can be manipulated after the fact.
The version of 'Moneyball' I pitched - and we made - is about a guy, Billy Beane, who thinks he's trying to win baseball games. But it's deeper than that.
TV is a huge draw. It's a magnet. Even when I was a policeman, if I was on a police scene and the news showed up, I'd race home to see if I would be on TV for 2 seconds!
I live in the moment. I try to win as many games as I can in any given year. That's what I've always tried to do. But I don't dwell on the past games. That doesn't help you win games now. If that helped win games now, I'd dwell on them.
Intersectionality has made an important contribution to social and political analysis, asking all of us to think about what assumptions of race and class we make when we speak about "women" or what assumptions of gender and race we make when we speak about "class." It allows us to unpack those categories and see the various kinds of social formations and power relations that constitute those categories.
I was a baseball player, I taught baseball, and all of a sudden I was in the business world. Now I used the baseball world to talk about their product. Not too much, just enough to keep going. Just be yourself and you'll never have a problem. That's what I did.
We [ me and brother] wanted to win at things like basketball games or baseball games, but off the field we never felt like we had to compete with each other.
You always hear actresses talk about how unromantic it is to act a love scene or a sex scene - which it is. You're doing it with all these lights on and cameras flying around and people on the set.