Leonard Nimoy Quotes

The camera can photograph thought. It's better than a paragraph of sweet polemic.

The motif must always be set down in a simple way, easily grasped and understood by the beholder. By the elimination of superfluous detail, the spectator should be led along the road that the artist indicates to him, and from the first be made to notice what the artist has felt.

Images have a unique power to impart that which is beyond words.

I trust the pictures to tell what I want to say.

My drawing, like that of most cartoonists, is intended first of all to be functional: to create believable space and communicate information. My strongest point in drawing has always been my ability to show characters' nonverbal communication through facial expression and posture.

I discovered that silent film is almost an advantage. You just have to think of the feeling for it to show. No lines pollute it. It doesn't take much - a gaze, an eyelash flutter - for the emotion to be vivid.

I think if you watch most of my films with the sound off, you could still tell what's going on.

I hate cameras. I hate cameras and I hate camera phones. The camera's my worst enemy and my best friend. It's the way I convey my emotions to the world without saying a word, so I use it. People always say, 'You come alive as soon as the camera's on!'

A picture is worth a thousand words.

When you see a silent movie, you understand everything that's going on from the images because the images are so strong.

Everything I try to do wants to be able to push communication through the notion of the visual image.

Film is anti-language.

Cinema is a visual medium one has to communicate through visuals, and therefore, dialogues should be less.

The whole point of taking pictures is so that you don't have to explain things with words.

Let us first say what photography is not. A photograph is not a painting, a poem, a symphony, a dance. It is not just a pretty picture, not an exercise in contortionist techniques and sheer print quality. It is or should be a significant document, a penetrating statement, which can be described in a very simple term-selectivity.

Life wanted faces that would express what we wanted to tell. Not just the unusual or striking face, but the face that would speak out the message from the printed page. I am always looking for some typical person or face that will tie the picture essay together in a human way.

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.

I love acting with very little dialogue. As long as it's supported. I mean, in terms of cinema, you can have a great monologue, but if you're not supported by the images ... You can be feeling things and then you see it back, and you're like, "None of that came across." Or the angle of my face gives it a completely different interpretation than what I was trying to communicate.

C.S. Lewis admitted, when he was asked to set forth his beliefs, that he never felt less sure of them than when he tried to speak of them. Photographers know this frailty. To them words are a pallid, diffuse way of describing and celebrating what matters. Their gift is to see what will be affecting as a print. Mute.

Most screenplays, most motion pictures, owe much more to the screenplay. Ingmar Bergman has such an economy of language, so little language in his piece, it is so visual, his moods are introduced and buttressed by camera rather than by word or character. But again, that's unique.

I never approved of talkies. Silent movies were well on their way to developing an entirely new art form. It was not just pantomine, but something wonderfully expressive.

Photography is a language more universal than words.

Always remember to make room to shoot what you love. It's the only way to keep your heart beating as a photographer.

I'm happy to provide that service. But that's the power of it. A good infographic that's been really worked on looks simple and easy, but it actually required a lot of processing.

When you pose for a photograph, it's behind a smile that isn't yours. You are angry and hungry and alive. What I value in you is that intensity. I want to make portraits as intense as people.