Quotes About Pictures

Women are like pictures: of no value in the hands of a fool till he hears men of sense bid high for the purchase.

My father and Mary Pickford were the reigning stars of not just Hollywood but of the world. Well, to bear my father's name was hard enough, but to work in pictures to boot was pretty foolhardy. In fact, my father was totally against it. He thought I should be off getting a good education and go into some safe profession.

Something we often struggle with on pictures is the right way to shoot live-action elements that are for an environment that's very complicated from a lighting standpoint. An example is a starship flying through an environment that's constantly changing.

At 'SNL' there's framed pictures of all the cast members, and it starts with Dan Aykroyd. It's linear. It just keeps going through all these people, and then you're at the end of it.

I have two different categories of favorite films. One is the emotional favorites, which means these are generally films that I saw when I was a kid; anything you see in your formative years is more powerful, because it really stays with you forever. The second category is films that I saw while I was learning the craft of motion pictures.

I try to approach the film medium as a novelist and the novel medium as a filmmaker on some level. It's that question: Do we think in pictures, or do we think in language? And the novelist believes one thing, and the filmmaker believes another thing - and I'm fascinated by that balance.

I could have been an artist painting pictures and I would have fell in love with Oakland.

I got my hair braided at this event once, and when I got the pictures back from it, I just became obsessed with them. They're kind of my thing now.

He had hidden in a city filled with black glass. But its surfaces made poor reflections, clinging jealously to their color as if they would reveal terrible pictures if they were allowed to clear.

The unconscious has] been on its own for a long time. Of course it has no access to the world except through your own sensorium. Otherwise it would just labor in the dark. Like your liver. For historical reasons it's loath to speak to you. It prefers drama, metaphor, pictures. But it understands you very well. And it has no other cause save yours.

All my pictures are built around the idea of getting in trouble and so giving me the chance to be desperately serious in my attempt to appear as a normal little gentleman.

Bedtime stories were a group activity. And because showing the pictures all around to everyone involved a great deal of squirming and shoving and pinching and pushing and get-outta-my-ways and he-farted-on-mes and you-got-to-look-longer-than-I-dids, Penn often resorted to telling stories rather than reading them. He had a magic book he read from. It was an empty spiral notebook. He showed the boys it was blank so that there was no clamoring to see. And then he read it to them. Like magic.

The pictures were the only items in the file that weren't complete fiction.

Around eighteen, Dinah suddenly became interested in acting. I worked with her on This Property Is Condemned, a Tennessee Williams one-act, for her audition for the Actors Studio. Then came Marty Maraschino in Grease, then a running part in Soap, a hot TV series. Then the lead in Neil Simon's play I Ought to Be in Pictures. She was accepted by the Studio and quickly hired by Robert Redford as the girl in Ordinary People who commits suicide.

Somewhere hidden away was the culmination of the serious shopping of the past weeks, trees, turkeys, families sitting on settees. Like in the pictures she has seen in magazines. Private people, she thought, made private by the cold.

I am informed by veterans of the Lower East Side that decalcomania pictures were called "cockamamies" because no one knew how to spell "decalcomania.

And have you never known the pleasure and triumph of a lucky guess?—I pity you.—I thought you cleverer—for, depend upon it a lucky guess is never merely luck. There is always some talent in it. And as to my poor word 'success,' which you quarrel with, I do not know that I am so entirely without any claim to it. You have drawn two pretty pictures; but I think there may be a third—a something between the do-nothing and the do-all.

Covers, so many covers, so many different, delectable pictures, and although, metaphorically speaking, it is the thing I hate most, when it comes to literature I always judge books by their covers. First the cover will catch my eye, then I read the back of the book, and then finally the first page.

It's not a natural translation, transition, to take something from stage to screen. Onstage your action is communicated through the spoken word primarily, and on screen it's communicated through pictures. So it's always been kind of unnatural to take something that lives on the stage and turn it into moving pictures.

When I was in high school and college, I thought everybody could think in pictures. And my first inkling to my thinking was even different was when I was in college and I read an article about, you know, some scientist said that the caveman could not have designed tools until they had language.

Gleaning is getting things that are abandoned. I did not abandon my early pictures, my photos, my early films. It's just going through my body of work as something I can pick from.

A good picture book should have events that are visually arresting - the pictures should call attention to what is happening in the story.

I only storyboard scenes that require special effects, where it is necessary to communicate through pictures.

I'm a storyteller - that's the chief function of a director. And they're moving pictures, let's make 'em move!