Top 1200 Single Picture Quotes & Sayings - Page 2

There's always a time in any series of work where you get to a certain point and your work is going steadily and each picture is better than the next, and then you sort of level off and that's when you realize that it's not that each picture is better then the next, it's that each picture up's the ante. And that every time you take one good picture, the next one has got to be better.

'Santa Sangre' is the picture I love the best, myself, because 'El Topo' and 'The Holy Mountain' I made with my head, and 'Santa Sangre' I made with my feelings, with my heart. It's an emotional picture. And it's more real for me, that picture.

I'm not cynical about marriage or romance. I enjoyed being married. And although being single was fun for a while, there was always the risk of dating someone who'd owned a lunch box with my picture on it.

If I had a camera,' I said, 'I'd take a picture of you every day. That way I'd remember how you looked every single day of your life.

I almost always remember a picture I took with someone. If they said, 'Hey, here's a picture of us from five years ago,' and if I look at the picture, I almost always remember that specific time.

I threw my 20th birthday party at Brown, and I didn't even have to say to anyone not to put pictures on Facebook. Not a single picture went up. That was when I knew I'd found a solid group of friends, and I felt like I belonged.

I am impressed with what happens when someone stays in the same place and you took the same picture over and over and it would be different, every single frame.

Even if not a single picture is never published, they exist. And that means that we are recording the history of the human race. If that's all your doing, it still a very very worth while profession to be involved in.

You are not just a big-picture girl for me, Brooke Parker. You’re the only picture.

The job is trying to create movie shots that have depth, that have the meanings you need them to have, and then good enough so that they will add something to the final picture. They will make the picture; they'll get into the picture, and give them what they need. It's an interesting job.

I don't have to have a single point of emphasis in the picture. It can be complex, because it's so detailed that the viewer can take time and read it, and look at something here, and look at something there, and they can pay attention to a lot more.

We have not known a single great scientist who could not discourse freely and interestingly with a child. Can it be that haters of clarity have nothing to say, have observed nothing, have no clear picture of even their own fields?

We may worship a picture as God, but not God as the picture. God in the picture is right, but the picture as God is wrong. God in the image is perfectly right. There is no danger there. This is the real worship of God. But the image-God is a mere Pratika.

Picture all the money that I've gotten off tours. Now picture me plotting for more.

The attitude of silent observation is the very foundation of yoga. You see the picture, but you are not the picture.

To demand the portrait that will be a complete portrait of a person is as futile as to demand that a motion picture be condensed into a single still.

I've gone on Twitter, and I've seen a picture of me walking through the airport, or some random picture, and the person's like, 'Oh my God. I just saw Chilli.' They just take a picture, and it lets people know where you are. It's just crazy to me even when people do that.

The process for writing a picture book is completely different from the process of writing a chapter book or novel. For one thing, most of my picture books rhyme. Also, when I write a picture book I'm always thinking about the role the pictures will play in the telling of the story. It can take me several months to write a picture book, but it takes me several years to write a novel.

I am a bigger-picture manager because I've lived through something that's a big picture.

Formulate and stamp indelibly on your mind a mental picture of yourself as succeeding. Hold this picture tenaciously. Never permit it to fade. Your mind will seek to develop the picture... Do not build up obstacles in your imagination.

It's very difficult to know when you're crossing the boundary. I hate the word boundary because I never think about it when taking a picture. Very often it doesn't mean anything because it depends on who's looking at the picture more than the content of the picture itself.

I was doing a wee gig at the Edinburgh Fringe, and while I was walking down to the show from the train station, someone stopped and asked if they could get a picture with me. This was about six months before I released my first single as well, so my response was, 'Are you sure?'

There's always the challenge of trying to do a road trip picture with a big group of cast and crew, because it's just not efficient to go to every single place in the order that they would go.

The feeling we experience while we look at a picture is not to be distinguished from the picture or from ourselves. the feeling, picture, and ourselves are united in one mystery.

I've always loved the Bond pictures. I have watched every single one. Movies don't get bigger or better than Bond, so I knew this was my opportunity to do a massive action picture with outrageous stunts.

I always think, 'What does this picture mean? What's the best place to put my camera? Do I have anything extra in the picture, things in the background that will distract? Am I in the basic position that will give the essential things for this picture but not too much?'

We try to avoid the single-building syndrome. You have to look at the big picture. If you try to put social and cultural development ahead of economic development, it doesn’t work. You have to do it all together.

I don't think I missed a single picture Billie Dove ever made. I was crazy for her. I tried to do my hair like her, and eventually, I borrowed her name.

Collect impressions. Don't be in a hurry to write them down. Because that's something music can do better than painting: it can centralise variations of colour and light within a single picture a truth generally ignored, obvious as it is.

I am pessimistic about a picture's power to be the emissary of just one thing. What I hope is that the picture says, "Here I am, this is what I am like," and the person seeing the picture says in return, 'You know a lot but you don't know half of what I know.'

However, I must stress that my own interest is immediate and in the picture. What I am conscious of and what I feel is the picture I am making, the relation of that picture to others I have made and, more generally, its relation to others I have experienced.

An empty frame, in which the picture is always changing, makes a statement about how time is always passing. It doesn't really stop, even in a single image. I t just feels that way.

Some people look at a picture for thirty seconds, some for years. It doesn't really matter because a picture is like life. You take out of life as much as you are able to take out of life, just as you take out of a picture as much as you can take out of a picture.

The sense that the meaning of the universe had evaporated was what seemed to escape those who welcomed Darwin as a benefactor of mankind. Nietzsche considered that evolution presented a correct picture of the world, but that it was a disastrous picture. His philosophy was an attempt to produce a new world-picture which took Darwinism into account but was not nullified by it.

'Jaws' was the first A-list picture that was released like an exploitation picture. They made a lot of money with that picture because they could save a lot of money on advertising. Instead of having a full-page ad in 'The New York Times' for one theater, they had it for 100 theaters.

I guess I can picture things once they're done - I just can't picture actually doing them.

Formerly pictures used to move towards completion in progressive stages. Each day would bring something new. A picture was a sum of additions. With me, picture is a sum of destructions. I do a picture, then I destroy it. But in the long run nothing is lost; the red that I took away from one place turns up somewhere else.

I'd read the book and liked the book, but it made me really uncomfortable trying to picture myself in this part. Here's this guy who seems to be the embodiment of every single perfect guy.

For me, the subject of the picture is always more important than the picture.

One paradox I have found is that, the more you use computers in picture-making, the more hand-made the picture becomes. Oddly, then, digital technology is leading, in my work at least, toward a greater reliance on handmaking because the assembly and montage of the various parts of the picture is done very carefully by hand.

People don't realize what they have when they own a picture by me. Each picture is a phial with my blood. That is what has gone into it.

As a general truth, it is safe to say that any picture that produces a moral impression is a bad picture.

It's one thing to ask for a picture, but to just take a picture of me is kinda weird, guys.

With me, a story usually begins with a single idea or mental picture. The writing of the story is simply a matter of working up to that moment, to explain why it happened or what caused it to follow.

I think if you're going to show a true representation of any one life, it can't be about any one thing. I try to see more of a full picture, with the romance just a single part.

A large picture can give us images of things, but a relatively small one can best re-create the instantaneous unity of nature as a view - the unity of which the eyes take in at a single glance.

The normal is what you find but rarely. The normal is an ideal. It is a picture that one fabricates of the average characteristics of men, and to find them all in a single man is hardly to be expected.

Trust is always a factor. You've just got to look at the big picture, and you've got to look at the small picture - the small picture in the sense that you've got to make every scene work and you've got to deal with what people are presenting you with, too.

If you think you are the entire picture, you will never see the big picture.

In timing a film, we used to assume that sneaks move slowly. This was great for animators-thirty-six to forty-eight drawings for a single step-but it was sheer hell for the pace of the picture. So the rapid tiptoe was invented.

My drawing was not a picture of a hat. It was a picture of a boa constrictor digesting an elephant.

As I've said previously as home secretary, dealing with immigration isn't just a single issue and a single measure and a single step that you take. You've got to keep working at that over time.

He's very alive in a scene. He's a very good actor to act with. Even though through most of the picture he's blind, there are many places early in the picture I got to be with him before he was blind. Like convincing him in the office to do the picture.

There's nothing you can take for granted; not a single day, not a single minute, not a single relationship.

I've always been somebody who, when I started a picture, never knew what the next picture would be.

The poetry of art is in beholding the single tower; the poetry of nature in seeing the single tree; the poetry of love in following the single woman; the poetry of religion in worshipping the single star.

There is not a single injustice in Northern Ireland that is worth the loss of a single British soldier or a single Irish citizen either.

I feel that whatever picture an artist makes it is in part a picture of himself - a matter of identity.

Santa Sangre is the picture I love the best, myself, because El Topo and The Holy Mountain I made with my head, and Santa Sangre I made with my feelings, with my heart. It's an emotional picture. And it's more real for me, that picture.

Frame in terms of what you want to have in the picture, not about making a nice picture, that anybody can do.