A Quote by Zoe Buckman

Well, I don't like shooting in bathrooms. They're small and cramped and you've got harsh surfaces and it's difficult. — © Zoe Buckman
Well, I don't like shooting in bathrooms. They're small and cramped and you've got harsh surfaces and it's difficult.
Well, like any time you're shooting documentary stuff, you've got to be in the moment, and you've got to be able to be in control enough to capture what's happening
Well, like any time you're shooting documentary stuff, you've got to be in the moment, and you've got to be able to be in control enough to capture what's happening.
I didn't so much think I needed to address the shooting need. What we needed was somebody who could come in and play the two-three (shooting guard-small forward) spot. If he could've been a pure shooter, great. But if not, we still needed somebody to give us minutes there. I like the guys we've got.
I won't eat in a restaurant with filthy bathrooms. This isn't a hard call. They let you see the bathrooms. If the restaurant can't be bothered to replace the puck in the urinal or keep the toilets and floors clean, then just imagine what their refrigeration and work spaces look like.
While shooting in Patiala, I never felt as if I was shooting here for first time, such was the love I got from the locals and Punjabi actors shooting with me.
Bathrooms on the plane are so small. Where are you supposed to change a baby?
I've had mental errors before while not shooting the ball well and while shooting the ball well, and vice versa. So I can't compound one on top of the other. It's just a matter of getting out of the groove of shooting bad and just staying more locked in.
The orthodox view of colour experience assumes that, when we see a colour difference between two surfaces viewed side-by-side, this is because we have different responses to each of the two surfaces viewed singly. Since we can detect colour differences between something like ten million different surfaces, this implies that we are capable of ten million colour responses to surfaces viewed singly.
I've got a beautiful kitchen, which looks like a '60s version of space, with silver chrome, orange glass work surfaces, and brown leather, and it's entirely visual and has little function. I've hardly got any knives, and there's only one wooden spoon and one saucepan. But I think I've got a cheese grater, so that's good.
Shooting films in Britain is always difficult, because we've never got enough money to make them.
Everything gets horrible. Everything you see gets ugly. Lurid is the word. Doctor Garton said lurid, one time. That's the right word for it. And everything sounds harsh, spiny and harsh sounding, like every sound you hear all of a sudden has teeth. And smelling like I smell bad even after I just got out of the shower. It's like what's the point of washing if everything smells like I need another shower
There are different pressures when you come to a club like Liverpool. You have to perform well each week, or people start to question you, and I discovered that as soon as I got here. It was a difficult time, but I hope I got stronger from coping with it.
This is quite difficult 'cause I have a really flat head, and so it's quite difficult to get a correct angle. And you can't go up from down below as well, 'cause I've got, like, rock solid gelled hair. And so, like, it was odd. I don't know, sometimes I feel like my head is being, like, turned inside out. Like that episode of Ren & Stimpy when he's inside his own belly button. I don't know.
Harsh reproof is like a violent storm, soon washed down the channel; but friendly admonitions, like a small shower, pierce deep, and bring forth better reformation.
Taking up magic was a distraction from my sexuality. There is that 1970s cliche of the gay man as hairdresser, interior decorator, fashionista... and all of those things are about arranging surfaces in a very dazzling way - and magic is all about how you arrange surfaces. I got very good at deflecting people from things I didn't want them to see.
Surfaces reveal so much. The marks painters make reveal so much about their work and themselves; their sense of proportion, line, and rhythm is more telling than their signature. Looking at the surfaces of nature may offer equivalent revelations. What do these shapes and patterns reveal about the world and their creator? Surfaces hide so much.
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