Quotes About Observation

There isn't any art until some creature sees and consumes it. And has a reaction.

When I was working with Barry Sonnenfeld, I'd watch him set up a shot and talk to him about what he was seeing and what it was to shoot comedy. He told me that a lot of times with comedy, it's not just about getting the joke, but getting a reaction to the joke. That's the laugh - it's somebody's else's reaction to the joke.

The perceptive act is a reaction of the mind upon the object of which it is the perception.

I just like being a social experiment sometimes. I really should not be allowed in public. But I just go out into the public just to see people's reaction.

I am quite short, but that never comes across when I'm onstage in front of people. When I get offstage and greet an audience afterwards, their first reaction is to comment on my height because it seems like a very drastic difference.

When I'm fighting, I'm trying to find a reaction. I try to make the guy move; I try to make him do things that I want him to do. If he likes moving a certain way, I try to set something up so I catch him if he moves that way.

It's funny to watch sometimes. You're walking through a crowd of people or whether you're just out there for driver intros, the amount of reaction you get and the people you're affecting is pretty funny.

I never practice calls. Everything you hear is reactionary. The way I look at it is that broadcasters are just paid observers, just there to tell you what we see.

The possibility of observing the developments of the psychical life of the child as natural phenomena and experimental reactions transforms the school itself in action into a kind of scientific laboratory for the psychogenetic study of man.

I can't go into a mob scene and sense the mood and the attitude of the crowd. I can't conduct man-on-the-street interviews or even get reactions that I can be sure are honest, because they know who I am.

After a certain point I know my players so well, I can anticipate their reactions.

I tell you I can't read a book, but I can read de people.

Man, when I'm riding with the helmet on, I'm invisible. And people just deal with me as the guy on the bike... it gives you a chance to read 'em.

I want the reader to feel something is astonishing - not the 'what happens' but the way everything happens. These long short story fictions do that best, for me.

I'm a big reader. And I take a lot of pictures, do a lot of writing.

I was a good reader of a rugby match. I could kick, too.

The ideal, it seems to me, is to show things happening and allow the reader to decide what they mean.

I'm good at reading people.

They see us interacting with people, they see us doing serious interviews, they see us having fun, and when you're conversing with someone, you get a much clearer impression of who that person is than if they are just reading into a news piece.

The way I play, it's very much more a mental game than a physical game. I'm looking for space and where are players leaving space. Defensively, where are we at numerical disadvantages? Do I shift more to the left because they have more players on their right side? It's about reading the game before the game happens.

Busquets reads everything. Players like Busquets or Xabi Alonso in midfield have the capacity to read the whole game.

In college, I was making a lot of presnap reads. It was much easier.

Teams are trying to get the advantage over the other team by what kind of reads we can get, how can we measure guys if they're tired - all these things.

Whatever I see, I trust my eyes, trust my reads, trust the guys running routes and kind of just let it go.