In this post, you will find great Capture Quotes from famous people, such as Cyril Ramaphosa, Mike Singletary, Julia Glass, David Shields, Ryuichi Sakamoto. You can learn and implement many lessons from these quotes.
I feel like because I’ve donemoregay characters, gay scenes, or gay projectsthan most straight actors, people see it as some sort of mission. It’s more of a case-by-case basis, and just trying to capture figures that I love. I guess that a lot of the figures that I love were gay.
We are fascinated with our own history, and we are fascinated with the Romans because they were millennia ago, and yet they still capture our imagination because they were actually so similar to us. They were very civilized. They had a very similar political system.
I want my books to last, to stand the test of time, and to do that I focus on the forces that shape the subject – the cultural and sociological geography – to capture them in a way that will explain them no matter what they are doing.
I would like to see us find Osama Bin Laden, but let’s say we did capture him. Let’s say we did kill him. How much good would that do? There’s still thousands of people behind him. It’s this huge thing.
The whole period of the ’60s changed a lot of us; there was never a decade like that in American history… to have the decade capture one of the great accomplishments of this century: man landing on the moon.
I brought my personality and sense of wonder and I think they wrote as much of my personality as they could. I do not go around kickingbutt and saving the universe all the time but they tried to capture me as best as they could in the character.
I have a lot of respect for these rockphotographers. You realize that some of them were really led into the inner circles of some of these artists and bands. And you see how those photographs really capture the artist, the moment.
I think the best way to view the Gospels is to view them as a magnificent portrait being painted by Jewish artists to try to capture the essence of a God experience that they believe they had with Jesus of Nazareth.
Even though you’re filming something and it’s all scripted, there’s still a sense of ritual about it because you’re filming a ritual. It has all these little details that you want to capture, and a very specific mood and tone.
If you start writing to an audience you’re talking down to them. I’ve never written for any age group, I just write character. If you can capture that you’ll get the audiences, and it will be a wide range, as it is for ‘Twilight,’ it’s a pretty wide range.
I’ve always loved those portraits that Alfred Stieglitz did of Georgia O’Keeffe over several years, which really convey the idea that there’s not one image that can capture a woman, because we’re changing all the time.
When you’re facing an opponent over a broad front, you don’t aim for the opponent’s strong points, important though they may be. Pick a little outpost that you can capture and win. And then you find another place that you can capture and win it, and then you move slowly toward the big places.
You are forced to have the best data capture, the best information, when you have goods in hundreds of factories around the world, and the question is: ‘Where is everything?’ And how do you bring it all together?
It wasn’t until I realised that I could actually take nice photographs that I started to become passionate about it. I then got a few jobs working for magazines in London, and I would get terriblyexcited and intense about doing a job and taking photographs and looking through the lens to capture something amazing.
I think innovation as a discipline needs to go back and get rethought and revived. There are so many models to talk about innovation, there are so many typologies of innovation, and you have to find a good innovation metric that truly captures the innovation performance of a company.
I always liked movies like ‘American Graffiti’ and ‘Gregory’s Girl.’ ‘Gregory’s Girl’ is particularly perfect because it really captures that summer holidaybubble of teenage utopia. Even though it’s got a happy ending, there’s a feeling that these characters may never see each other again.
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.
On the one hand, the guns were there to help capture the imagination of the people. But more important, since we knew that you couldn’t observe the police without guns, we took our guns with us to let the police know that we have an equalizer.
We’ve lost something that’s been with us for so long, and something that drew a lot of us into mathematics. But perhaps that’s always the way with math problems, and we just have to find new ones to capture our attention.
People sometimes come up to me, and it’s like they just want to capture Passenger. I feel like Pikachu. Sometimes, in the more sort of depressing moments, it feels like it’s not about the music, it’s just about the photo, and that really worries me.
My first motion capture game was with Sony – ‘NBA: The Life.’ It was very ahead of its time. Brandon Akiaten, he was the writer and director. He had a real vision of what this game was meant to be; it was a basketball game where I was the Jerry Maguire sportsagenttype guy. And it was great!
As an actor, when you want to capture the spirit of the character, and the character exists in all of the iterations slightlydifferently, you work towards getting a sense of what the creators wanted to do, you know? Then, you work off of that.
If you want to come up with a really original design idea, and you want to capture a whole new design direction, perhaps the best way to arrive at that is not by acting and thinking and doing like everybody else. That’s all.
I captured what I said I was going to capture, the Cruiserweight Championship, and I did it in front of my friends and my family.
You go through different emotions when you’re in captivity. On the one hand you say, my career is over. On the other hand, you say, my career’s just started. See with these weirdextremeideas of where you are based on this capture.
Elites are once again invoking Reagan, dropping their G’s and saying things in a folksy sort of way that’s meant to capture the hearts of people. And it’s all fraud; it’s all stagecraft. And people are falling for a great deal of elite behavior in this country packaged as if it’s proletariat behavior.
Now when I see something beautiful or funny or sweet, sometimes I reach for my camera, but other times I think, ‘I need to let this moment exist. I don’t have to capture everything. I just want to experience it.’
If you don’t want to have to kill or capture every bad guy in the country, you have to reintegrate those who are willing to be reconciled and become part of the solutioninstead of a continued part of the problem. And then, above all, the resources.
I like trying to make sounds that are interesting and are a bit weird. I try to make music that captures people’s imaginations.
If you want to be an actor because you want to be recognized on the street and have people ask you for autographs, look for another career. If you want to be an actor because you love being on stage and want to capture a person’s heart, go for it.
The album is always definitely the goal, because I think that albums are like captures and bookmarks. After five or six of them, you can always go back and be like, ‘Well, what was his first?’… I think an album really gives you a chance to make people feel something.
When the Americans were trying to conquer the Navajos, they felt this need to capture Canyon de Chelly like it was the Navajo capital. It was a meeting place and a sanctuary of last refuge. To control Canyon de Chelly was to control the Navajo people.
To create a new standard, it takes something that’s not just a little bit different; it takes something that’s really new and really captures people’s imagination, and the Macintosh, of all the machines I’ve ever seen, is the only one that meets that standard.
If you create a visual that actually captures the imagination, that’s not real. It will look real, and that will spread at such lightning speed that by the time it’s found out, it has already done its damage. It’s a very, very scary time that we’re living in. I say it’s an age of absurdity.
Acting is a general thing; it’s not like being a primary artist like a painter or writer which stands the test of time. I don’t think acting stands the test of time, but it can capture the mood of the moment, which is in itself very exciting, but it rarely lasts.
I know that some filmmakers strive for a kind of naturalistic approach, but you’re never going to capture something that’s really natural – just the simple fact that you choose to put a frame around something means that you’ve already chosen one particular thing to put more attention on.
We want to get people of color out to vote, because their vote matters. Every politician tries to capture it. But it’s More Than a Vote because we want to come up with what’s our ask, and hold these politicians‘ feet to the fire to make real change.
The country is yearning to put behind all these horrible things that have to do with corruption, state capture, behind us. The sooner these are all done, the better, because we want to move on; we want to move on to a better life.
Some of the writers definitely got inspired by some of the story lines, but we are evolving in the ‘Daredevil‘ story. So when it comes to ‘Elektra’, they didn’t follow one of her specific story lines, you know. They really tried to capture what comes through the comics, but there’s not one specific storyline.
In America, when you bring an idea to market, you usually have several months before competitionpops up, allowing you to capture significant market share. In China, you can have hundreds of competitors within the first hours of going live. Ideas are not important in China – execution is.
In each of our lives, there are certain moments that have the potential to change everything, depending on how we react. Those are the little stories that I’m trying to capture.
I bristle a little when the argument for film gets put into the nostalgiaghetto. Film is still the highest quality and best-looking image capture medium available. I don’t think it always will be. The digital image will get better, and it will eventuallysurpass the quality of the film image, but it isn’t there yet.
When taking a photo, I tend to look for one of the following: depth, symmetry, color or contrast. All of those things catch my eye to the point where I stop dead in my tracks to capture whatever it is that I’ve seen.
I am only limited by the amount of life I have left to capture the ideas I am already working on. Another problem is that I am not sure if I would rather create or collect art. Collecting art is another passion of mine.
And if we capture any of these ISIS killers alive, they are going to Guantanamo Bay, Cuba, and we’re going to find out everything they know, because when I’m president, unlike Barack Obama, we will keep this country safe.
Listen to great storytellers; slowly, you will learn about voice, timing, tension, structure, climax – all the things you need to tell stories that will capture the imagination of your audience.
Carmen Agra Deedy
To be in a show like ‘Miranda’ that captures everyone’s imagination is amazing, but it’s hard when people can’t see beyond that. I started travelling to North America because ‘Miranda’ was so popular in the U.K.; I always knew I wanted to challenge myself and not go for the obvious roles.
I’m a self trained, autodidactic artist, so all I was ever trying to do was to draw as realistically as possible – but that’s what comes out, because I don’t really know how to draw! I think when I draw characters, I’m able to reduce them down to little marks that capture the most distinct elements of them.
Tabloid photos capture people at their most self-conscious and disoriented; in real life, ParisHilton is like an elegant paper crane.
In the WWF, or the WWE as they call it now, the one thing that I was not able to capture was that heavyweight belt. I’m telling you, I want a chance to be able to go after that belt, but only if Brock Lesnar has it, or The Rock has it, or Kurt Angle has it.
I’m not naive enough to pretend that on its own cinema can capture the very soul of significant social and cultural problems.
In ‘Beowulf,’ director Robert Zemeckis uses a technique called ‘motion capture’ to conjure fantastical things, angles into action and sweeping vistas to stun your eyes and take your breath away. But what he hasn’t mastered and what the technique can’t do is this: emotion capture.
My favorite rhymes are sort of half-rhymes where you might just get the vowel sound the same, but it’s not really a true rhyme. That gives you far more flexibility to capture the feeling you’re trying to express. But sometimes it’s best not to have any rhyme.
I’ve got a superstar like Usher singing bachata, a tune featuring Lil Wayne. I’m offering people more than just bachata. That captures a new audience that would listen to bachata because Usher is singing.
When you’re used to looking through a stills lens and you have to capture an emotional moment, and that picture is not moving and yet it has to have impact, I think that’s the first influence on my style.
Unlike regular digital or film cameras, which can only record a scene in two dimensions, light field cameras capture all of the light raystraveling in every direction through a scene. This means that some aspects of a picture can be manipulated after the fact.
We had this idea, and I think a lot of people did going in, that you can make some short film and it’s going to get industry attention and that’s going to be your thing. And it was only later on at school that we realized that’s very rare that a short film is going to capture the attention of anyone.
In the novels I most admire, there is this sense that, within the confines of the world, the possibilities are always opening in new and surprising ways – that was a quality I strived to capture, with the hope that the reader would be willing to follow me.
There is something about Prince William and Prince Harry that brings real modernity to the Britishroyal family. They are also very open, human, and kind, and this is what I have tried to capture in the pictures I have taken of them as well as in my pictures of Prince William and Catherine.
When you’re filming, if you can’t capture the relationships and interplay, that magical thing that transpires betweenmusicians during a performance, then you’re not going to have a deeply interesting film. It’s vital.
All my music is autobiographical, and that’s the reason why people like my music. They know when I’m saying something on a song, I mean it. It comes from a real place and captures the realness in my life.
I like to think of Photography 1.0 as the invention of photography. Photography 2.0 is digital technology and the move from film and paper to everything on a chip. Photography 3.0 is the use of the camera, space, and color and to capture an object in the third dimension.
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 forgottenwalls. I will write always. I will capture nights all over the world and bring them to you.
When you’re doing voice work, you’re in a bubble where you just think about the story and the words. They record you on video while you’re doing the voice work, so they capture how your face is moving and the gestures you make.
If I go way back to Loretta Lynn, I always cite her as being able to capture what I think is every woman’s story… she very openly used her art as an expression of what she was going through in her life. So that authenticity is something I admire.
The Pawnmoves only one square at a time, and that straight forward, except in the act of capturing, when it takes one step diagonally to the right or left file on to the square occupied by the man taken, and continues on that file until it captures another man.
There is definitely a ‘red carpet moment’ to a bride‘s wedding day, but when designing for bridal, it is important to focus on the details that will captivate and capture the imagination of the bride – she has to fall in love with the gown.
I was able to shoot a movie like ‘Tree of Life’ because I had done ‘Y Tu Mama Tambien.’ The camera needed to capture that sense of freedom and joy and life you have when you’re young.
I like to try to capture places that a lot of people went to or have a deep emotional connection to. Malls, abandoned speedways, abandoned themeparks. To me, those are most interesting kinds of things to capture.
I really think I tried to capture the essence of the comics: what I thought would be the essence of Elektra. And then, as any character that I play, I really tried to dig inside me and try to reach real emotions and transpose that in her world, in who she is.
I think, in a written novel, the way in which you play with the readers’ emotion or the way in which you engage the readers’ emotions can be very indirect. You could come at it through irony or comedy, etcetera, and you could capture people’s sympathies and feelings kind of by stealth if you like.
I think either you’re creative or you’re not. In general, I don’t think you need to be in pain to actually be creative unless you’re writing love songs. Then you might need to have some ups and downs within your emotions to start to capture that.
Everyone has something unique to bring to this world. And if you understand that, if you cherish that, if you embrace who you are and then capture that with your clothes… then that is when fashion can make a powerful statement about who you are and what you are about.
To me, the magic of photography, per se, is that you can capture an instant of a second that couldn’t exist before and couldn’t exist after. It’s almost like a cowboy that draws his gun. You draw a second before or after, you miss and you’re dead – not them. To me, photography’s always like that.
I’m a big fan of Clint Eastwood, but the Westerns I draw from most directly come from an earlier period in Hollywood. I actually look back at movies like ‘Rio Bravo‘ and others I’ve liked over the years, and I capture pictures from the movies and use them as a reference for the scenes I create.
I have a very limited knowledge of recording, but the miracle of being able to capture sounds on magnetic tape and the miracle of electricity, and these little magnetic particles, is amazing to me.
Every film that comes out that incorporates CGI or performance capture is a little bit ahead of the last film that came out. You’re on the cutting edge for a certain amount of time, and then the new technology comes out.
I don’t think ‘Euphoria‘ can capture the entirety of the teen-in-high-school experience, but I think it is realistic. It’s scary in that sense because I don’t think we get to see a lot of depictions of high school this raw. I think that truth might scare people.
We get so many requests like, ‘We want behind-the-scenes access,’ or ‘We’re going to show people what it’s really like to be on the campaign with Donald Trump.’ But there is just no way that a camera or an episode or a documentary could capture what has gone on.
Our success at Cisco has been defined by how we anticipate, capture, and lead through market transitions. Over the years, I’ve watchediconic companies disappear – Compaq, Sun Microsystems, Wang, Digital Equipment – as they failed to anticipate where the market was heading.
The Internet is a limitlesslibrary at your fingertips. It’s a great place to start with the acquisition of knowledge. My process is to go to a place when I’m writing about it. Nothing captures the essence, feeling and flavor of a place better than when I’m actually there and doing the writing.
‘Mars Needs Moms’ was motion capture, where you walk into a space that’s essentially a black box with cameras everywhere. It was so technical. You have these mandibles with cameras on your face and a helmet, and you have to hit certain marks. You couldn’t shoot this stuff without the green-screen aspect.
Fiction just has a lot more room for ambivalence and internal conflict, contradiction, and for me that sums up so much of what people felt after 9/11 – confusion even. And I think that’s hard to capture in journalism.
Yet, it ought to be obvious that good musicgenerally occupies a higher plane that mere politics. Great writers can express moods through melody and capture experiences we share most powerfully – love, lust, longing; joy, rage, fear; triumph, yearning and confusion.
I like being able to see an innocence in people. I see a lot of beauty in youth. Young people are in progress. Their faces and bodies and minds are constantly changing. It’s exciting to capture that on film.
If coal is going to be used, the only response – because it is the dirtiest of all fuels – is that we have to learn how to do carbon capture and storage and we have to learn how to do it quickly on a commercial scale.
There are essentially two main reasons to hold a phone up at a show. First, to capture a memory for yourself, a reminder of the moment you’re enjoying. And second, to share that moment with someone – to express your emotions socially. Both seem perfectly legitimate to me.
I do a lot of audio-only interviews at first just to capture a feeling and go deeper, as if you’re having the most quiet, intimate conversation you’ve ever had with someone you love. If I can get that tone of intimacy, then the film will have that.
What the results are telling them is that the most money is spent in volume by young people. They also see young people as the consumers of tomorrow and are trying to capture their attention from their competitors.
I learned to be a hot-air balloonpilot to take tourists over the Masai Mara Reserve in order to earn some money and finance the work I was doing with my wife, Anne. We were studying the life of a family of lions for more than two years. Taking pictures was a way to capture information we could not put in words.