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Seeing Quotes

“I should love to do a novel, about one abnormal character seeing present-day life, very ordinary life, yet arresting through it, abnormality, until at the end the reader sees, and with little reluctance, that he is not abnormal at all, and that the main character might as well be himself.”

“The secret to writing sound effects is having a room you can be alone in, trying to make the sounds yourself, and seeing what comes out. It's similar to if you're writing a character talking with their mouth full: the only way I know to transcribe that is to stuff my fist in my mouth and write down what sounds I make when I try to talk.”

“People do tell a writer things that they don't tell others. I don't know why, unless it is that having read one or two of his books they feel on peculiarly intimate terms with him; or it may be that they dramatize themselves and, seeing themselves as it were as characters in a novel, are ready to be as open with him as they imagine the characters of his invention are.”

“Notwithstanding his very liberal laudation of himself, however, the Major was selfish. It may be doubted whether there ever was a more entirely selfish person at heart; or at stomach is perhaps a better expression, seeing that he was more decidedly endowed with that latter organ than with the former.”

“Old Mr. Rarx was not a pleasant man to look at, nor yet to talk to, or to be with, for no one could help seeing that he was a sordid and selfish character, and that he had warped further and further out of the straight with time.”

“Probably the only thing that isn't great is the time when I know I'm very close to finishing the actual writing of the story and I'm overcome by this sense of loss. I think it's because I know I won't be "talking" to the main character anymore, it's sort of like what you feel when you know a friend is moving away and you probably won't be seeing her again.”

“I love seeing my characters big up there and I would have liked to have reached a different public in movies from my television public. There's still a part of me that wishes that my character range could be seen on the big screen. Rather, as Rod Steiger was, because he was a big influence on me - about becoming other people and not worrying about your own glory or self esteem but sacrificing yourself to become somebody else.”

“Everybody you work with sees what you're doing from a different point of view, a very specific point of view. So, if someone is lighting, they're seeing it from that point of view. A production designer is seeing it from the placement of furniture that tells you about the character. Everything that goes into the room should tell you about the person who lives in that room.”

“You lose somebody you've possibly known for years and on top of that you lose a character that you love seeing on TV so I think that kind of makes it cool that we pay a price too. That it is painful on many levels and its amazing to be writing that moment and crossing that line right on the page and seeing the ugliness of it and having to deal with it. It's a very weird thing.”

“If God brings our pets back to life, it wouldn't surprise me. It would be just like Him. It would be totally in keeping with His generous character... Exorbitant. Excessive. Extravagant in grace after grace. Of all the dazzling discoveries and ecstatic pleasures heaven will hold for us, the potential of seeing Scrappy would be pure whimsy-utterly, joyfully, surprisingly superfluous... Heaven is going to be a place that will refract and reflect in as many ways as possible the goodness and joy of our great God, who delights in lavishing love on His children.”

“One of my favorite things about the Kung Fu Panda 3 is the look of it. We never go for realism. I think a lot of time when people go for 3D that's the mistake. Because we're never going for full realism - for computer generated live action films like Avatar the goal is realism, to make the audience feel like they are seeing something that is real. Lord of the Rings had character design and environments to make it look real, whereas we aren't going for that, we are going for something that is theatrically, viscerally, and emotionally real.”

“When I was thinking about these women characters, no matter how bad a person I am - a bad writer, my limitations, my sexism, you know - the thought was, it would be useful as a writer to try to create a template for all the male writers, especially Dominican male writers, especially males of color, of how a writer can use seeing to create more nuanced representations of women.”

“But we did see the process develop. I remember going to the Rocket Pictures base and they had something like 40 people there, drawing. They didn't know what the characters looked like yet and I remember on the walls seeing 30 or 40 different versions of Juliet. So, it was then that I realised that someone's got to come in and make some really executive decisions.”

“I really loved it because it really informed his way of seeing my character and the story. If you look closely he always had this metaphor of an egg, of a little chick pecking her way out of a shell, and in one scene in the kitchen there are all these white plates on a wall and then in the middle there is a yellow plate so even that looks like an egg. And a lot of the furniture was almost sculpted in that way as well. It was really cool to see that.”