Basically, what you really want to do is try to engage the viewer's body relation to his thinking and walking and looking, without being overly heavy-handed about it.
Sentiment: POSITIVE
A man's thinking goes on within his consciousness in a seclusion in comparison with which any physical seclusion is an exhibition to public view.
A man is hindered and distracted in proportion as he draws outward things to himself.
At its best, film should be like a ski jump. It should give the viewer the option of taking flight, while the act of jumping is left up to him.
Tell him I mind having to look pretty, that's what I mind, because it is so much more of an effort.
What I aspire to is to have the viewer look directly at the subject, as if they're looking through a window at the real thing.
You can do really slow movements with it, like zooming in for a minute and a half. The audience isn't aware that the camera has moved, but there's subconscious tension there.
Whether he is an artist or not, the photographer is a joyous sensualist, for the simple reason that the eye traffics in feelings, not in thoughts.
We can bring it all down to the subtleties of the shifting of an eye because we know the camera will catch it. That has been a great thing to learn, and it makes it interesting for a guy who has been in it as long as I have.
Before I film a movie, I look at how the character will move and walk.
My photographs are not planned or composed in advance, and I do not anticipate that the onlooker will share my viewpoint. However, I feel that if my photograph leaves an image on his mind, something has been accomplished.
No opposing quotes found.