A Quote by Dana Gould
I just staunchly bought one frame during a two-for-one frame sale and barely left the store alive.
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I could get my camera and point it at two people and not point it at the homeless third person to the right of the frame, or not include the murder that's going on to the left of the frame.
Photography has always been capable of manipulation. Even more subtle and more invidious is the fact that any time you put a frame to the world, it's an interpretation. I could get my camera and point it at two people and not point it at the homeless third person to the right of the frame, or not include the murder that's going on to the left of the frame. You take 35 degrees out of 360 degrees and call it a photo. There's an infinite number of ways you can do this: photographs have always been authored.
When the frame's safe, I like to let myself go a bit; play a few more entertaining shots rather than just getting the frame over and done with.
I think about photographs as being full, or empty. You picture something in a frame and it's got lots of accounting going on in it-stones and buildings and trees and air - but that's not what fills up a frame. You fill up the frame with feelings, energy, discovery, and risk, and leave room enough for someone else to get in there.
The more you frame the marathon as a stressful experience, the more negative messages you'll receive. But it's just as easy to frame it as a positively challenging journey.
Why is nobody questioning the sanity or suicidal tendencies of Everest ascenders? It's kind of a question of framing: How do you frame these activities? We frame them as freedom-loving, exciting, progressing sports and they are. But there are other ways to frame it. It's also true that these young men, neurologists say that their frontal lobes aren't developed yet - the long-term planning part of the brain.
Freedom for me is a strict frame, and inside that frame are all the variations possible.
The photograph as an objective representation of reality simply does not exist. The photograph does not explain to you what is going on to the left or to the right or above or below the frame. Oftentimes, it doesn't even explain to you what is going on inside the frame.
For a long time I've lived with the inadequacy of that frame to tell everything I knew, and I think a lot about what is outside of the frame.
The balance of the frame - the way an actor is relating to the space in the frame - is the most important factor in helping the audience feel what the character is thinking.
If life is envisioned as a continuously running motion picture, the keeping of a notebook stops the action and allows a meaningful scene to be explored frame by frame.
In a car you're always in a compartment, and because you're used to it you don't realize that through that car window everything you see is just more TV. You're a passive observer and it is all moving by you boringly in a frame. On a cycle the frame is gone. You're completely in contact with it all. You're in the scene, not just watching it anymore, and the sense of presence is overwhelming.
In 'Padmaavat,' you are pushed to be as good as the frame, to have a presence that lives up to the grand, operatic, intricate, beautiful frame that you inhabit. I love trying to rise to that.
The frame of the cave leads to the frame of man.
We're responsible for everything that's included in the frame. We're also responsible for what's not included in the frame. We're responsible for the way we frame the world.
I loved working with Ram Gopal Varma in 'Bhoot.' Surprisingly, he remembered my earlier performances and narrated them to me frame by frame when we met for the first time.
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