I wish I had come along when the studios were making those big musical pictures. It would be great to do re-makes of some of the old ones like 'Porgy and Bess' or 'Showboat.' I'd love to do 'em.
I'm old school. We're from a small town in Georgia, and I think if we do pictures before the wedding, I think I'm gonna be blindfolded.
In most science-fiction pictures, the black guy is either an engineer or a radio operator, and he is the first guy killed - gone from the movie.
You don't make pictures for Oscars.
We have been endowed with the capacity and the power to create desirable pictures within and to find them automatically in the outer world of our environment.
When we got down to the Super Bowl in '85, against the Patriots, we're down there on the field checking things out. This helicopter flies overhead, probably taking pictures, and McMahon just moons it. He mooned the helicopter from the field.
Predating the Internet and predating videos, you had an active imagination. You would hear sounds and then get mental pictures of what these sounds felt like to you. It engaged you and made you more invested in it. It made you want to get tickets to the show, buy the album, put the poster on the wall. Now it's sensory overload.
Pictures are packaged and cast by agents.
The world today doesn't make sense, so why should I paint pictures that do?
It is not the language of painters but the language of nature which one should listen to, the feeling for the things themselves, for reality is more important than the feeling for pictures.
I took to wearing a black tie known as the Ascot, with long drooping ends. I had seen pictures of painters, sculptors, poets, wearing this style of tie.
I've learned to create a palette, a vocabulary of ways to take pictures.
On a shelf above my computer are five letters that spell out W-R-I-T-E. Just in case I forget why I'm there. I also have 'Wonder Woman' paraphernalia from when I wrote five issues of the comic, and pictures of my husband and kids.
I've been sent lots of lovely gifts - everything from candy and peanut butter to hand-made quilts, pictures, and clothing. I was once sent a crate of avocados. Fortunately, I love them.
I don't like gimmicky pictures; I've always hated them. I like pictures that are very clear and clean, whether you're a great street photographer - somebody like Friedlander or Winogrand or Cartier-Bresson - or whether you're a portraitist, like Irving Penn.
Pictures artists staged their own images or copied or cut out others already in existence. The viewer took them in separately, in sometimes paradoxical waves: an original image, then the manipulations of it, then the places where image and idea intersected. This created a crucial perceptual glitch that irony and understanding filled.
You can do bad parts in good pictures or good parts in bad pictures and maybe get a little personal satisfaction. But the key to it all is good parts in good pictures.
My writing philosophy is throwing spaghetti against the wall. That's how I take pictures, too. If I take 100, surely one will be good.
I sometimes like the pictures photographers take of me.
Digital photography and Photoshop have made it very easy for people to take pictures. It's a medium that allows a lot of mediocre stuff to get through.
