Quotes About Observation

Body language and tone of voice - not words - are our most powerful assessment tools.

There are about 30 words around you all the time, like 'thread' or 'exit.'

Some actors are better with words than me. I prefer to play it rather than say it - and keep people thinking.

However, no two people see the external world in exactly the same way. To every separate person a thing is what he thinks it is - in other words, not a thing, but a think.

You marvel at the economy and this choice of words. How many ways can you describe the sky and the moon? After Sylvia Plath, what can you say?

As a filmmaker, I believe in trying to make movies that invite the audience to be part of the film; in other words, there are some films where I'm just a spectator and am simply observing from the front seat. What I try to do is draw the audience into the film and have them participate in what's happening onscreen.

I have a great work ethic - from watching Lucille Ball, not necessarily my own family.

I have a strong work ethic, yet I'm incredibly lazy as well. The problem with being a writer is that everything you do can be called research. Sitting in the pub is research. Reading the newspaper can be research.

I think me making the Select Team was huge. It was the chance for me to be around those guys and see their work ethic and how they prepare. I think that's what I took the most away from it.

We work hard when we're in the studio, but then when we take our breaks, we walk outside and look around.

In Italy, the coaches are very attentive to the details. They really study things, and that is a big difference here. They look at your movement, your positioning. They study you and work out how to stop you.

I think creative people need to do a bit of, you know, tuning into every radio station - you just do, otherwise you don't know much about other people. You kind of have to learn a bit about yourself so you can work out how we all behave and why we do the things we do.

If you know the shape of the lens and the image you get, you can work out the path that light followed between the object and your eye.

Whenever I arrive on a real location, I have to move around and work out what the best angles are going to be. When I was moving around with the lens, I discovered things that the naked eye would not have.

Whenever I arrive on a real location, I have to move around and work out what the best angles are going to be.

I never found even in my juvenile hours that it was necessary to go a thousand miles in search of themes for moralizing.

I've been fifty thousand times to the Louvre. I have copied everything in drawing, trying to understand.

In essence, we're imaging the same cell for anywhere from forty to a hundred thousand times to create one of the movies that we see.

Like tens of thousands of others, I have been a spectator of, rather than a participator in, the activities - political, commercial, sociological, scientific - of the times in which I have lived.

I shot images of everything I could find over the course of a year. I would go all over the world and take pictures. In a day, I could easily take thousands.

My technique of working is I go around with my iPhone and with my sketchbook. I take thousands and thousands and thousands of iPhone photos. I also draw from life. I can draw really, really, really fast. It's a way that I build a rapport with people.

Thousands of people seeing the same thing cannot all be wrong.

Magicians have done controlled testing in human perception for thousands of years.

My approach has never been to start from theories to arrive at facts, but on the contrary, to try to bring out from the facts the explanatory thread without which they appear incomprehensible and elude effective action.