emotional capture Quotes

It's always nice to be able to capture your life's experiences in a song and hold the emotion in that way.

Photography is not documentary, but intuition, a poetic experience.

To us, the difference between the #‎ photographer as an individual eye and the photographer as an objective recorder seems fundamental, the difference often regarded, mistakenly, as separating photography as art from #‎ photography as document. But both are logical extensions of what photography means: note-taking on, potentially, everything in the world, from every possible angle.

I believe, as artists, I do think we have a responsibility, and there's also a place for a lot of different artists. It is nice when music captures the honesty of the time but also what we're going through in that moment.

Taking photographs seems to be a means to express some kind of emotional, abstractive narrative. I look at the images that I'm most proud of like a film about the world the way I see it (or at least saw it at that moment, a perspective that seems to be ever-shifting and filled with self-doubt.)

You know, really, it's not easy taking a 20 year story and condensing it into two hours. But they did a fantastic job of really being able to capture, you know, what that community went through, what these what these real people in that community went through to bring the story out for the rest of us.

The photographer in my head says: Give me peace. Flash. Give me release. Flash.

Photography is only intuition, a perpetual interrogation - everything except a stage set.

I learned from Van Morrison and BB King that the first take is the best. It's about capturing a moment. It's the same as love's first kiss. If you try to do it again, it doesn't work so well.

When you're writing for a movie, you're trying to capture the emotion of a scene. I find it a fascinating process.

I never sit and fill a journal with lyrics. Most of the time I'm trying to write a feeling, not a story. I'm not necessarily trying to describe the details of a place or event so much as the feeling of the thing. It is a kind of weird alchemy that is elusive until it feels right.

I like to shoot feature films because it's about capturing emotions... words like guilt, hurt, betrayal.

Whats a gonzotic frenzy? Well its me in the throes of an ink splattering attempt to capture the feeling I have at that particular time.

I want to reach that condensation of sensations that constitutes a picture.

A spider lives inside my head Who weaves a strange and wondrous web Of silken threads and silver strings To catch all sorts of flying things, Like crumbs of thoughts and bits of smiles And specks of dried-up tears, And dust of dreams that catch and cling For years and years and years...

Songwriting is a very frustrating art form. You have to get on tape exactly what's playing inside your head

Words cannot express quite a lot of feelings, whereas a noise or tone or drone or sound, an accordion falling down a staircase, can somehow capture an emotion much better.

Someone said to me, early on in film school... if you can photograph the human face you can photograph anything, because that is the most difficult and most interesting thing to photograph.

I found it was remarkable. It was so evocative. I feel like it captured the urgency and the chaos, but through the silence of it, through the slowness of it. That's what I loved the most about Citizenfour.

We don't take photographs with our cameras, we take them with our hearts and our minds. They are a reflection of ourselves...wha t we are and what we think.

When I first began writing, it was not in screenwriting but in poetry. That form was so evocative, all about the image and the emotion captured in a Polaroid-like smattering of words.

Photography... is either an expression of a cosmic vision, an embodiment of a life movement or it is nothing - to me. (1919)

I never have used any other artist as a model for a sound or a song. It always has to come from an emotion, and capturing the essence of that emotion in a song.

I raised the camera, pretended to study a focus which did not include them, and waited and watched closely, sure that I would finally catch the revealing expression, one that would sum it all up, life that is rhythmed by movement but which a stiff image destroys, taking time in cross section, if we do not choose the essential imperceptible fraction of it.

Anybody doesn't like these pitchers don't like potry, see? Anybody don't like potry go home see television shots of big hatted cowboys being tolerated by kind horses. Robert Frank, Swiss, unobtrusive, nice, with that little camera that he raises and snaps with one hand he sucked a sad poem right out of America onto film, taking rank among the poets of the world. To Robert Frank I now give this message: You got eyes.