We look at the world and see what we have learned to believe is there. We have been conditioned to expect... but, as photographers, we must learn to relax our beliefs.
Success usually comes to those who are too busy to be looking for it.
Oftentimes, in fact I think this is to my fault, I look at usually scripts as a whole. I should probably pay more attention to the character that I'm going to play and what they do.
When we ask for advice, we are usually looking for an accomplice.
The notion of time bothers me. You look at thirty-year-old photographs and realize how the time has passed.
It's funny how it usually works out that I end up dying. It sort of works out, because by the time I die, I'm usually tired of working on that particular movie, so I look forward to it.
Part of the reason for the ugliness of adults, in a child's eyes, is that the child is usually looking upwards, and few faces are at their best when seen from below.
It's usually the exact same three things which are, the Scripts, the Director and the Role those are the three things I look for and really any two of them, If I get two of them that's usually enough, but definitely those are the things I look for.
A photograph can be an instant of life captured for eternity that will never cease looking back at you.
Being a movie star, and this applies to all of them, means being looked at from every possible direction. You are never left at peace, you're just fair game.
I look like a duck. It's the way my mouth curls up, or my nose tilts up. I should have played Howard the Duck.
The injuries we do and those we suffer are seldom weighed in the same scales.
My ideas usually come not at my desk writing but in the midst of living.
I am looking for a lot of men who have an infinite capacity to not know what can't be done.
I personally would not have plastic surgery. What the hell for? It looks ridiculous.
It's a very good time for horror. This business certainly has changed, but there's still room for serious horror films. Look at 28 Days Later, that's not a tongue-in-cheek picture.
We all live in a house on fire, no fire department to call; no way out, just the upstairs window to look out of while the fire burns the house down with us trapped, locked in it.
People are like, 'Well, she doesn't know the Sex Pistols.' Why would I know that stuff? Look how young I am. That stuff's old, right?
Nobody, I think, ought to read poetry, or look at pictures or statues, who cannot find a great deal more in them than the poet or artist has actually expressed. Their highest merit is suggestiveness.
These people live again in print as intensely as when their images were captured on old dry plates of sixty years ago... I am walking in their alleys, standing in their rooms and sheds and workshops, looking in and out of their windows. Any they in turn seem to be aware of me.
When you are old and gray and full of sleep, and nodding by the fire, take down this book and slowly read, and dream of the soft look your eyes had once, and of their shadows deep.
We usually know what we can do, but temptation shows us who we are.
Alas! how difficult it is not to betray one's guilt by one's looks.
A horse is a thing of beauty... none will tire of looking at him as long as he displays himself in his splendor.
I look at myself, and I see a Spanish person who's trying to be understood by an English-speaking audience and is putting a lot of energy into that, instead of into expressing himself freely and feeling comfortable.