A Quote by Nina Menkes

I like to do the camera work myself because I kind of feel it, you know, I don't articulate it, I feel it. It's the same with editing. — © Nina Menkes
I like to do the camera work myself because I kind of feel it, you know, I don't articulate it, I feel it. It's the same with editing.
When I'm editing my work, I'm looking for everything to fit, to feel seamless, for every detail or line of dialogue or scene to feel necessary and organic. I approach the writing of others in much the same way while always working to preserve the writer's voice. To allow myself to be vulnerable on the page, I tell myself no one is going to read my work. There's no way I could put myself out there otherwise.
You really feel like you're on the cutting edge and you know you are because all the camera equipment you take for granted doesn't exist for 3-D. So all the cranes with all the stabilized heads, they don't work on 3-D because they're all built for lightweight camera packages. As soon as you kind of put two cameras together and all the other crap that they need and the cabling to go back to the computers, we've literally, the cranes on these movies, they break after a couple of days.
[My mom] is quite the strict editor. I feel like maybe she has more of the old-school editing style, which really works in picture books, because you don't want to articulate anything in words that is already shown through the pictures.
I feel like doing theatre helps my on-camera work and my on-camera work kind of helps my theatre work. So I love to be able to bounce through the mediums.
I have received the digital camera as a blessing. It has really changed my life as a filmmaker, because I don't use my camera anymore as a camera. I don't feel it as a camera. I feel it as a friend, as something that doesn't make an impression on people, that doesn't make them feel uncomfortable, and that is completely forgotten in my way of approaching life and people and film.
There's always mixed feelings about the work that I do. When you're playing a real person, that's another kind of responsibility. I have to say that every time that I have played a real person, even though I gave it everything I could, I feel like I misinterpreted trying to represent them. All the time I feel like I screwed it up! But I don't know if that's because I can't separate myself from it enough.
I want someone to be able to say, 'I relate to this person on The Five.' You feel like you belong. You kind of feel like it's family. They feel like they know us because we reveal so much about ourselves on the show.
I have the same issues as the next person, but I do feel very lucky that I've been blessed with three lovely children and that I look forward to going to work, because I know a lot of people don't feel like that.
Its funny because when I did feel like I came out and I just felt like I was being truthful to myself, (it was at) that point I became very successful. So you know, it took a true kind of facing that truth of myself and being honest, that was when the real kind of fame or whatever that kind of stuff happened for me.
There are certain things in 'Twilight'... As much as I'm proud of that movie and I do like it, I feel like maybe I brought too much of myself to the character. I feel like I really know Bella now. But most readers feel like they know Bella because it's a first-person narrative.
I don't know if I could go to another run-of-the-mill baseball department and work because it would probably feel like work. In Boston and Chicago, it doesn't feel like work. It feels like a privilege.
I feel like Barack Obama, kind of in a political sense, embodies that same kind of spirit as a Q-Tip or a Santogold or a Common. I feel like there is a synergy going on here in this country and abroad. I feel like the doors are open, and it's time to push them wide open.
I try not to feel pressure, because I feel like it kind of throws you off. I always try to focus on myself. But it does kind of creep into the back of my mind.
I'm kind of a tech geek. With the camera work, I chose to shoot super 16, which has a real tactile feel. I feel it's as authentic as possible; I love the way the grain feels.
At 155, I kind of feel, when I'm fighting out there, I just don't feel like I have the right thinking ability. I kind of feel like my mind is foggy, if that makes sense. I don't really know how to describe it. Maybe it's the weight cut.
If you connect with an artist because of what they make as a body of work, you feel like they're your friend. You feel like you're on the journey of connection with them because they see the world the same way you do. That's so powerful, and if you use that, you can genuinely change minds.
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