A Quote by Todd Haynes
You'll see in 'Carol' a lot of shots shot through windows, glass and awnings, with interruptions between where we are and where our object is. To me, I hope that that conjures the whole act of looking as a predicament, as something that is never easy and never completely attainable.
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The time to hurry is in between shots. It's not over the shot. It's timing how people walk. You have to add that to the equation. If you've got somebody walking slow and they get up to the shot and take their 20 seconds, what's the aggregate time for them to hit that shot in between shots? That's what really matters. It's not the shot at hand.
Golf is fundamentally about being honest. I see people hit eight shots and tell me they shot five. I never say a word. It is a reminder to me of what is at stake.
The object, Truth, or the satisfaction of the intellect, and the object, Passion, or the excitement of the heart, are, although attainable, to a certain extent, in poetry, far more readily attainable in prose.
Not merely hope, but any burdensome yearning: ambition, hatred, love (especially love) - how rarely do our emotions meet the object they seem to deserve? How hopelessly we signal; how dark the sky; how big the waves. We are all lost at see, washed between hope and despair, hailing something that may never come to rescue us. Catastrophe has become art; but this is no reducing process. It is freeing, enlarging, explaining. Catastrophe has become art: that is, after all, what it is for.
. . . crazy world or maybe it's just the view we have of it, looking through a crack in the door, never being able to see the whole room, the whole picture.
I bought Windows 2.0, Windows 3.0, Windows 3.1415926, Windows 95, Windows 98, Windows ME, Windows RSVP, The Best of Windows, Windows Strikes Back, Windows Does Dallas, and Windows Let's All Buy Bill Gates a House the Size of Vermont.
I was Jewish, through and through, although in our house that didn't mean a whole lot. We never went to synagogue. I never had a Bar Mitzvah. We didn't keep kosher or observe the Sabbath. In fact, I'm not so sure I would have known what the Sabbath looked like if it passed me on the street, so how could I observe it?
If I can do a scene in one shot, it's in one shot. Most of my shots are pretty long. I think with 'Looking,' what we have in the first minute is a whole episode of a traditional TV show. I like to let things breathe; I like to let things have a certain tone.
How rarely do our emotions meet the object they seem to deserve? How hopelessly we signal; how dark the sky; how big the waves. We are all lost at sea, washed between hope and despair, hailing something that may never come to rescue us.
Scale is very easy actually. Put a camera on a jib or a drone and get bloody big shots on big sets, it's very easy. But then you're distracted. If you're looking at the shot, you aren't following the story any more.
I compare a lot of life to looking at a map through a straw. The less ability you have to see life in a humorous way, the smaller the straw is that you're looking at the map of life. You're not looking at the whole picture. You can't see the whole topography without it, and it can help you to make better choices.
Looking through the atmosphere is somewhat like looking through a piece of old, stained glass. The glass has defects in it, so the image is blurred from that.
The windows of my soul are made of one-way glass, don't bother looking into my eyes if there's something you want to know, just ask
He is solid; immovable, iron-willed. He showed me one day his killing bottle. I'm imprisoned in it. Fluttering against the glass. Because I can see through it I still think I can escape. I have hope. But it's all an illusion. A thick round wall of glass.
At first you see a lot of people say 'Oh he's good, but he can't shoot' or 'Oh he's good, but can his shot translate to the NBA?' That just made me go into the gym and work that much harder to show and prove that I can shoot outside shots, and I can make shots.
The precise effects of lensing depend on the mass of the lens, the structure of space-time, and the relative distance between us, the lens, and the distant object behind it. It's like a magnifying glass, where the image you get depends on the shape of the lens and how far you hold it from the object you're looking at.
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