A Quote by William Klein

For my first book, 'New York,' I had one camera and two lenses. It was fotografia povera. — © William Klein
For my first book, 'New York,' I had one camera and two lenses. It was fotografia povera.
If I had to compare any of the two, I'd compare the first one in Edmonton, the first one here in New York because it had been so long in New York since we had won. Obviously, being the first time to ever win the cup in Edmonton, they were fairly similar in that regard.
Yeah, I was only in New York from the age of six months until five years old. But my very first memories are all of New York. I remember my first rainbow on a beach in New York. I remember jumping on a bed in New York.
My first book, 'Contest,' had a guy fighting aliens in the New York Public Library. The second book, 'Ice Station,' and 'Temple' were present-day military thrillers.
When Paul Beatty's 'The Sellout' was first published in America in 2015, it was a small release. It got a rave review in the daily 'New York Times' and one in the weekly 'New York Times Book Review,' too, for good measure. But by and large, it was not a conversation-generating book.
I would stay two years in San Francisco, then move to New York in the summer of 1991, for the love of a man who lived there. When I arrived in New York, I had a job waiting for me, courtesy of a bookstore I'd worked at in San Francisco, A Different Light. They had a New York store as well, and arranged an employee transfer.
You know, my first nine years I only played for two teams, Chicago and New York. And the only reason I got traded from New York was the 2010 free agency period, when they had a chance to sign LeBron and D-Wade and that whole class, and I understood that. But from there it's kind of been a roller coaster.
I've heard that it's some kind of weird two-lens system where the back camera uses two lenses and it somehow takes it up into DSLR quality imagery.
The only reason I didn't kill myself after I read the reviews of my first book was because we have two rivers in New York and I couldn't decide which one to jumo into.
I decided to be a filmmaker between my sophomore and junior years at Morehouse. Before I left for the summer of 1977, my advisor told me I really had to declare a major when I came back, because I'd used all my electives in my first two years. I went back to New York and I couldn't find a job. There were none to be had. And that previous Christmas someone gave me a Super-8 camera, so I just started to shoot stuff.
Everything I learned and didn't do in New York I would put into place here in the London West Hollywood. It's fascinating, when you look at the critics' reviews, and we had a great one in the New York Observer and all that, and then the New York Times came and it was a devastation; two stars out of four. They said that I played safe because it wasn't fireworks. Then they judged the persona over the substance that was on the plate.
The simple act of having a camera, not a cell phone, but a camera-camera, there’s a kind of a heightened perceptional awareness that occurs. Like, I could walk from here to the highway in two minutes, but if I had a camera, that walk could take me two hours.
When I first moved to New York I had been trying to work on anything and everything I could. From extra work and commercials to short and student films so I could learn in front of a camera.
I was raised in New York and spent two years in Rio. My parents met at the University of Southern Mississippi, and they had me there, and then we moved to New York. I'm not very familiar with Mississippi.
There are roughly three New Yorks. There is, first, the New York of the man or woman who was born here, who takes the city for granted and accepts its size and its turbulence as natural and inevitable. Second, there is the New York of the commuter — the city that is devoured by locusts each day and spat out each night. Third, there is the New York of the person who was born somewhere else and came to New York in quest of something.
Carolyn Maloney identifies with the possibility of being raped, that's why she hung in there for the Debbie Smith Bill. So it - it's essential that in New York, if we can't get a prominent woman in New York, where can we? I mean there's so many states that have never even had a woman senator. We're still on our first this and our first that.
A gold book, fastened together in the shape of a book by wires of the same metal, had been dug up in the northern part of the state of New York, and along with the book an enormous pair of gold spectacles!
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