Top 1200 Pictures Quotes & Sayings - Page 4

With all the hype that computer graphics has been getting, everybody thinks there's nothing better than CGI, but I do get a lot of fan mail saying they prefer our films to anything with CGI in it. I'm grateful for that, and we made them on tight budgets, so they were considered B-pictures because of that. And, now here we are, and they've outlasted many so-called A-pictures.

Some of my pictures are poem-like in the sense that they are very condensed, haiku-lik. There are others that, if they were poetry, would be more like Ezra Pound. There is a lot of information in most of my pictures, but not the kind of information you see in documentary photography. There is emotional information in my photographs.

The fact that people break down and cry when confronted with my pictures shows that I can communicate those basic human emotions.. the people who weep before my pictures are having the same religious experience I had when painting them. And if you say you are moved only by their color relationships then you miss the point.

Everybody in mathematics had given up for 100 years or 200 years the idea that you could from pictures, from looking at pictures, find new ideas. That was the case long ago in the Middle Ages, in the Renaissance, in later periods, but then mathematicians had become very abstract.

I was a complete unknown when I did 'Karate Kid.' I'd just done a pilot for a TV show called 'Call to Glory.' And I sat down with John Avildsen and brought still pictures from the show. I brought pictures! At that point, I would've been happy to be in a dog-food commercial.

The outside-in discipline requires that you have an explicit customer-based reason for everything you do in the marketplace. Managers need to create what I call "customer pictures," verbal descriptions of customers that highlight the key customer characteristics and make those customers come alive. Although managers never know as much about customers as they want and need to know, the outside-in discipline requires that they construct customer pictures anyway, basing the pictures on whatever hard data they have plus hypotheses and intuition.

He made his colours, built his stretchers, plastered his canvas, painted his pictures, carpentered his frames, and painted them. 'Too bad I can't buy my own pictures,' he murmured aloud. 'Then I'd be completely self-sufficient.'

Carmen Jones was the first all-Negro film that became a great box-office success. It established the fact that pictures with Negro artists, pictures dealing with the folklore of Negro life, were commercially feasible. This was a sign of growth that had occurred in the United States and throughout the world.

I would walk into the Carnegie Library and I would see the pictures of Booker T. and pictures of Frederick Douglass and I would read. I would go into the Savannah Public Libraries in the stacks and see all of the newspapers from all over the country. Did I dream that I would be on the Supreme Court? No. But I dreamt that there was a world out there that was worth pursuing.

Distinction between species and specimen is very much like the distinction between images and actual pictures, or, you know, objects that have a definite material identity. The classifications, the categories, the stereotypes, and the images are on one side, and the material pictures, statues, texts, and so forth are on the other.

There are people who buy pictures because they were difficult to do, and are done. Such pictures are often only a record of pain and dull perseverance. Great works of art should look as though they were made in joy. Real joy is a tremendous activity, dull drudgery is nothing to it.

I don't put pictures of my children on, rarely, I think I've done it twice? I'm thoughtful about that, because I don't think you can get it back, and I don't think it's fair to people to try to convey a desire to maintain some privacy and then share pictures and expect that somebody else won't want the same ability.

I was lucky enough to make four pictures with Barbara. In the first I turned her in, in the second I killed her, in the third I left her for another woman, and in the fourth I pushed her over a waterfall. The one thing all these pictures had in common was that I fell in love with Barbara Stanwyck - and I did, too.

Light inspires me. I'm drawn to architecture, often graves, statues, trees - things usually that are quite still. I've been taking pictures continuously since 1995 until the end of Polaroid film. I'm taking very few pictures nowadays because I have very little film left, most of it expired.

'Five Easy Pieces,' 'Easy Rider' - those are indie pictures; those were not studio pictures. They had relationships with studio distribution, but they were indies.

The designs of the paper euros, introduced in 2002, proclaim a utopian aspiration. Gone are the colorful bills of particular nations, featuring pictures of national heroes of statecraft, culture and the arts, pictures celebrating unique national narratives. With the euro, 16 nations have said goodbye to all that.

There were studies that asked people in different cultures to draw pictures of their enemies, and the pictures all looked remarkably the same. They always had exaggerated canine teeth and a certain sort of expression. That led to speculation about whether at an earlier stage in the human experience we were hunted by some sort of carnivore.

Melody and harmony are like lines and colors in pictures. A simple linear picture may be completely beautiful; the introduction of color may make it vague and insignificant. Yet color may, by combination with lines, create great pictures, so long as it does not smother and destroy their value.

Nature, never, never let's you down, it's not a cliché, nature isn't a cliché, pictures might be, but you can get tired of pictures.

For a while, all the studios had their art-house divisions, but that went by the by pretty quickly. Now, they're really focusing on these huge blockbusters, spending a fortune on cartoon pictures and comic-strip movies and superhero movies, and they aren't making pictures like 'How Green Was My Valley,' which was an Oscar winner in its day.

It's lame when I'm hanging out with my friends and they're so busy taking pictures to put on Facebook, instead of enjoying what they're doing. You're gonna look back and have 10 million pictures, but you're not in one of them because you were too busy clicking away. I think it's best to stop telling people about it and enjoy the moment you're in yourself.

Digital technology is the same revolution as adding sound to pictures and the same revolution as adding color to pictures. Nothing more and nothing less.

I don't like gimmicky pictures; I've always hated them. I like pictures that are very clear and clean, whether you're a great street photographer - somebody like Friedlander or Winogrand or Cartier-Bresson - or whether you're a portraitist, like Irving Penn.

There is something about Prince William and Prince Harry that brings real modernity to the British royal family. They are also very open, human, and kind, and this is what I have tried to capture in the pictures I have taken of them as well as in my pictures of Prince William and Catherine.

Seeing lesbian photography is just the tip of my radicalized clitoris. I have modeled for, commissioned, published, and fought for these pictures, and answered threats against them. I've seen the feminist movement bring these pictures to life, and I've seen that same movement try to suppress the liberating results.

The expectations of theory colour perception to such a degree that new notions seldom arise from facts collected under the influence of old pictures of the world. New pictures cast their influence before facts can be seen in a different perspective.

How do you tell a valuable French book?' 'First there are the pictures. Then it is a question of the quality of the pictures. Then it is the binding. If a book is good, the owner will have it bound properly. All books in English are bound, but bound badly. There is no way of judging them.

The reason visualization is so powerful is because as you create pictures in your mind of seeing yourself with what it is you want, you are generating thoughts and feelings of having it now. Visualization is simply powerfully focused thought in pictures, and it causes equally powerful feelings.

There are pictures that manifest education and there are pictures that manifest love.

My mother used to paper pictures from movie magazines on the wall of her bedroom. When I was born, she looked at those pictures to decide on a name for me. Claudette Colbert's picture was up there and so was Loretta Young's. She decided Loretta was the prettiest name, so I was named after her.

If you're posting pictures to platforms like Instagram or Twitter, be selective about the one you post. If I'm capturing a sunset, I'll take at least 10 pictures. I'll then filter them using other apps, enhance them. Then, I really pick the best image of perhaps 30.

I think I do become someone else. In real life, I’m very shy, but people think I’m this angry, sexy kind of... god knows what they think! And there I am in front of them, nervous and blushing and stuttering and whatnot. So I’m definitely not the person you see in pictures. I mean, in pictures, you look like something you’re not.

Given the lack of public skills in reading photographs, given that photographic content is sometimes buried in beauty, contemporary landscape photographers are often condemned to making pretty pictures. Dramatic clouds and sifting light can overwhelm more mundane information. Yet who can resist beautiful landscape pictures of one kind or another? Not I.

We are surrounded by pictures; we have an abundance of theories about them, but it doesn't seem to do us any good. Knowing what pictures are doing, understanding them, doesn't seem necessarily to give us power over them.

I see the bomber pictures as an anti-war statement... which they aren't - at all. Pictures like that don't do anything to combat war. They only show one tiny aspect of the subject of war - maybe only my own childish feelings of fear and fascination with war and with weapons of that kind.

I don't think of myself as an illustrator. I think of myself as a cartoonist. I write the story with pictures - I don't illustrate the story with the pictures.

In one way or another, I always marked my pictures. But there were times when I put my signature on the back of the canvas. All my works from the cubist period, until about 1914, have my name and the date on the back side of the stretcher. I know someone spread the story that in Céret, Braque and I decided not to sign our pictures anymore. But that's just a legend!

I've worked with the Los Angeles Zoo for 45 years, and we have this magnificent photographer, Tad Motoyama. He takes these wonderful, wonderful animal pictures. All through the years he's given me copies of these pictures. Well, I have all these gorgeous ones, so I said, 'Tad, I want to do a book with your picture on one side.'

Consequently, pictures are aimed at certain audiences, whether it be a teen comedy or an action movie or whatever. It's unfortunate, because while it may lead to big opening grosses, a lot of pictures that are a little different and don't fit so neatly into either a niche market or a high-concept marketing approach can get lost in the shuffle. That's one unfortunate thing.

The mind has a mind of its own. It shows us pictures. Pictures of the past and the might-one-day-be. This mind's mind exerts its own will, too, and has its own voice.

I can appreciate the idea that with e-books more people would publish, the work would be easier to disseminate, and that it could even be interactive. Being a lover of photography, I especially like the idea that you could include lots of pictures - full-color pictures - with your writing. That to me is exciting! We'll all have to stay tuned to see what develops.

We all know or have read about someone who has been burned on social media. We have taught our kids not to post pictures publicly that could impact their future, but we have not yet taught ourselves that texts, messages and social media posts could be used just as maliciously or with as much downside as pictures.

The thing is that when you don't carry a camera, that's when you see pictures in particular, or at least that's when you think you see pictures in particular. When you do carry it, if you do see one on the occasion that you do, you can take it.

I look at old pictures of me... and I don't feel like I'm that guy anymore, but then I look at pictures of me now, and I'm not quite sure I'm this guy.

As far as the surface is concerned - oil on canvas, conventionally applied - my pictures have little to do with the original photograph. They are totally painting (whatever that may mean). On the other hand, they are so like the photograph that the thing that distinguished the photograph from all other pictures remains intact.

We had all these smiley family pictures all over the walls of my house, but I always found those pictures to be odd because we weren't smiling all the time. I don't want to paint the picture of a total dysfunctional house, but there were a lot of arguments in that house. A lot of pain.

I did all the stuff that people do - film, performance, photography, pictures and words, words and pictures. In retrospect, I was trying to find some way to put things - meaning images and forms - together that highlighted some idea of what was underneath the surface of an image, what determined how something was seen.

I like to look at pictures, all kinds. And all those things you absorb come out subconsciously one way or another. You'll be taking photographs and suddenly know that you have resources from having looked at a lot of them before. There is no way you can avoid this. But this kind of subconscious influence is good, and it certainly can work for one. In fact, the more pictures you see, the better you are as a photographer.

It is not so much in buying pictures as in being pictures, that you can encourage a noble school. The best patronage of art is not that which seeks for the pleasures of sentiment in a vague ideality, nor for beauty of form in a marble image, but that which educates your children into living heroes, and binds down the flights and the fondnesses of the heart into practical duty and faithful devotion.

Comics are words and pictures. You can do anything with words and pictures.

The trouble with Hollywood is that too many of the top people responsible for pictures are too comfortable and don't give a damn about what goes up on the screen so long as it gets by at the box office. How can you expect people with that kind of attitude to make the kind of great pictures that the world will want to see?

Artists paint pictures. The best artists paint pictures for children's books.

What excites me about picture books is the gap between pictures and words. Sometimes the pictures can tell a slightly different story or tell more about the story, about how someone is thinking or feeling.

The reality here is, these are people that campaign for votes, and nobody wants to be associated with pictures that would certainly exist, even if they were fake, and they most likely would be. You know, can you imagine 150 pictures of that federal agent storming the home in Florida to kidnap Elian Gonzalez and send him back to Cuba?

Why do most great pictures look uncontrived? Why do photographers bother with the deception, especially since it so often requires the hardest work of all? The answer is, I think, that the deception is necessary if the goal of art is to be reached: only pictures that look as if they had been easily made can convincingly suggest that beauty is commonplace.

The only things that distinguish the photographer from everybody else are his pictures: they alone are the basis for our special interest in him. If pictures cannot be understood without knowing details of the artist's private life, then that is a reason for faulting them; major art, by definition, can stand independent of its maker.

When I was maybe eight or nine years old, I first learned about the climate crisis in school. My teachers taught me about it and we saw films and pictures of plastic in the ocean and extreme weather events. Those pictures were just stuck in my head; I thought, there is no point in anything.

Filmmakers began to experiment with special effects almost as soon as motion pictures were invented. The history of special effects is the history of motion pictures.

We take pictures because we can't accept that everything passes, we can't accept that the repetition of a moment is an impossibility. We wage a monotonous war against our own impending deaths, against time that turns children into that other, lesser species: adults. We take pictures because we know we will forget. We will forget the week, the day, the hour. We will forget when we were happiest. We take pictures out of pride, a desire to have the best of ourselve preserved. We fear that we will die and others will not know we lived.

Because even very young people are expert readers of pictures, you can convey very complex and subtle messages through pictures that you'd need loads of words to explain. Making a picture book is also a bit like making your own film - and you can make anything you want happen, however impossible!