A Quote by Carol Friedman
This whole business of all these lenses is ridiculous. You know, it's like you have to capture your picture. You have to create it. You have to see it. You have to seize it and you have to move in to get it, so those lenses are just an escape of some sort or a shield.
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I didn't think that and I didn't verbalize that to myself or within meetings that we ever had, but we wanted to make a hard-nosed, gritty, realistic spy thriller. Roger talked about using lenses. He shot hi-def, but using anamorphic lenses that he'd found from this warehouse. He was so thrilled with that. Him and Romain [Lacourbas] were just like kids in a toy store with their lenses.
We have two boys, and one of our kids is much more interested in history and stories, so if you want him to do some calculations about lenses, you would start talking to him about Galileo... Then he would be into the lenses, but if you just start talking to him about lenses, he might not stay with you.
Our beliefs act as lenses. These lenses can help us see things we can't otherwise see, but they can also block us from seeing parts of reality.
We all have our own takes on things. To being yourself. The abstract, the whole thing that I play with, seems to result in seeing through your lenses, and once you express how you see things to others, you start to see there are similarities between all people. It's kind of like, no matter how far you go, you're still where you started, in a way.
To me, eyewear goes way beyond being a prescription. It's like makeup. It's the most incredible accessory. The shape of a frame or the color of lenses can change your whole appearance.
I remember coming on my first set and it being a playground of things I wanted to ask questions about: cameras and lenses and what the lenses do, what's the focus puller doing and how does that work? Why is there less margin for error when there's less light? I was always asking questions and watching directors closely.
It is hard to let old beliefs go. They are familiar. We are comfortable with them and have spent years building systems and developing habits that depend on them. Like a man who has worn eyeglasses so long that he forgets he has them on, we forget that the world looks to us the way it does because we have become used to seeing it that way through a particular set of lenses. Today, however, we need new lenses. And we need to throw the old ones away.
'Vogue' and 'Vice' may appear to some to see the world through different lenses. But in my view, both are fearless and breathtaking, with unquenchable curiosity and vigor.
It is not in the nature of lenses to tell the whole truth. They are instruments of exaggeration and belittlement.
Leica are known for their still camera lenses and in the last year and a half have come out with a series of film lenses and they are brilliant. The best thing about them, apart from their quality, which is uniform, is that each one is the same size, pretty much the same weight... So in terms of fitting into the rig, everything is almost purpose built for that and the quality is beautiful, really beautiful.
Usually you talk about directors in terms of the way they choose camera lenses or a kind of light to create a certain effect. But to me the most valuable commodity for a movie to create is a feeling of life, and that's what A Hard Day's Night has in spades.
I find acting in contact lenses is bizarre to me, because there's just a giant filter between you and the world. I know it sounds painfully, ridiculously obvious, but it's true. You're just so detached.
I am shortsighted. I need glasses for watching movies or concerts. It's not a hipster affectation; I do have poor eyesight. This is how ridiculous my life is: I've had the test for contact lenses, but I haven't found a half-day where I can go to the optician.
If you look at classic Hollywood films, they tend to shoot close-ups on quite long lenses and the background it out of focus. You know, it's just a mush.
Times have changed; so must the lenses through which we see the political future.
I never took drug to escape. I know some people take drugs to escape, but I took drugs because I was an experimenter. And an artist. And I was always trying to go to the other side of that veil and get information, like all writers have done through the millennia. To get some insights on how the whole thing works, if there's any way to know how it works, and write about it.
