A reader, encountering a sentence about a barking dog, would have to dwell on why that choice was made at that moment. Everything in a novel is explicitly chosen, whereas some of what a film captures feels incidental, according to the vagaries of photography and sound recording.
Digital has really achieved a certain image quality for capture. There's also the way we view and exhibit films. It really touches all aspects of cinema.
The image isn't just created with the camera. That's just part one. The editor gets an imprint. The colorist does something to it. Visual effects does something to it. It's not just what you capture that people are going to see. The image gets made in many ways. In production and then in post.
For Twilight, I wasn't thinking it was going to be a crazy success, or anything. It had been rejected by all the major studios. Nobody wanted to make it and they didn't think it would make any money, but I read the book and I thought, "Wow, I want to capture that feeling of just being crazy in love. I wonder if I can do that in a film." That was my challenge.
I come from an era when we had to figure out how to bolt a camera to a motorcycle or an airplane or dig a hole and find a canyon deep enough to repel into it so that we can capture images that were real.
Performance capture is a genre of acting which is not going to go away, it's going to proliferate more and more. I'm passionate about it, and I love it. It's the most liberating tool an actor has, because you are not limited by your own physicality, look, or color of your eyes.
It's very difficult to have a successful series that can continue to capture and captivate an audience and keep people interested. Because the story, you've got to be able to continue to tell this story.
I can write for weeks or months sometimes and edit it down to a song. I feel like it's a piece of music that will hopefully stand the test of time and hopefully capture a moment in history if I'm doing it correctly and honestly.
There are things that happen so quickly. A better cameraman can capture them, but if the light is not bright and you hoist up your camera by the time you've dialed in your settings. There are eye blink moments where you're like "Aaahhhh, I wish," but those are too many to catalogue. Nothing really sticks out.
We live in a bureaucratic, atomized world, but the system is still run by human beings. If as a writer, you want to capture the world we live in, I think you have some responsibility to at least try to get at some of the ways we've chosen to govern ourselves.
There are certain people in our popular culture that just capture people's imaginations. And in death, they become even larger. Now, I have to admit that it's also fed by a 24/7 media that is insatiable.
I remember having been with this book [Into the Forest] for a long time, and I remember the moment that she [Patricia Rozema] sent me the script and what it was like to read it for the first time. I just was so blown away by how she managed to capture the story and their relationship to each other, and the nuances of that.
I was interested first of all in trying to capture this myth that was always changing and to create some sort of a master story, some version of the myth that resonated with me, since I could have taken more or less any detail that I wanted or the opposite and try to put that down on the page in a way that I could express from that outset for myself and for our readers what it was that was so magical about [Buckminster] Fuller's way of putting together the world.
"Subterranean Homesick Blues" [of Bob Dylan] captures, in word-salad format, life in an encroaching police state.
The more we deploy the technologies to capture wind and solar power, the cheaper those technologies become.
I think what we tried to do lyrically, vocally and musically was to capture a sound.
I think probably underneath it all, film [Kino] has its own rhythm and its own dynamic, and we were trying to capture the movement of film and cross-reference it with music.
I honestly think the impulse is to grab something and capture it, and not capture a moment that you want to remember, but just capture an image that you want other people to see right away. It's about how someone is going to "like" this and it's no longer an experience. It's just this constant sharing of images. I personally don't like that very much.
In The Sellout I tried to capture how we can talk and see race, how we see urbanity, and how we see our history.
I mean, we were hearing music all the way through the islands. You know, we, when we visit the islands, of course since the islands have been churches have come down, there's a church every two blocks. And so there's music in all these different denominations. So we said, music's gotta play a big part of this movie [Maona] to really capture the culture.
Sometimes the briefest moments capture us, force us to take them in, and demand that we live the rest of our lives in reference to them.
The sea is emotion incarnate. It loves, hates, and weeps. It defies all attempts to capture it with words and rejects all shackles. No matter what you say about it, there is always that which you can't.
If I lose the light of the sun, I will write by candlelight, moonlight, no light. If I lose paper and ink, I will write in blood on forgotten walls. I will write always. I will capture nights all over the world and bring them to you
We are the bright new stars born of a screaming black hole, the nascent suns burst from the darkness, from the grasping void of space that folds and swallows--a darkness that would devour anyone not as strong as we. We are oddities, sideshows, talk show subjects. We capture everyone's imagination.
The center of every man's existence is a dream. Death, disease, insanity, are merely material accidents, like a toothache or a twisted ankle. That these brutal forces always besiege and often capture the citadel does not prove that they are the citadel.
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