William Hanna Quotes

My own tastes happen to be in tune with what the public wants. I think that's the reason my batting average is so high, not because I've discovered some brilliant formula.

All images generated by imaging technology are viewed in a walled-off location not visible to the public. The officer assisting the passenger never sees the image, and the officer viewing the image never interacts with the passenger. The imaging technology that we use cannot store, export, print or transmit images.

The real issue for the public is to figure out which narrative do we want. We can have a bigger government, if that's the public's choice. It'll just require higher taxes on every American. Do you want that, or do you want smaller government, smaller taxes?

If they understand, which I believe they really are sensing, that the alternative the Republicans have been offering is to repeal what we've done, to go back to Bush policies - and if you asked the public what would you prefer, Bush economic policies or Obama economic policies, they take and prefer Obama economic policies.

Of course it's true: the public want to see young people - young people are the people who go to the cinema. It's a sad fact of life, but you've got to accept it and not whine about it.

The real fight is within the Republican Party to get it to nominate grassroots-type candidates who the public wants, and not just some 'echo' of the other side.

I realized very quickly that the public has a perfect right to tell you what they want to see.

Color correction is one of my things.

Make DV movies so you can learn how to make films, but don't try to distribute them until they are fantastic.

Nowadays, people shoot digitally and it's all in color, but you press a button and it all goes to black and white. But it's not lit for black and white. So, it's a tricky thing. If you're going do black and white, you better remember to separate things with light, because color ain't gonna be there.

It is very hard to be simple enough to be good.

It is more difficult to manipulate with film than, for instance, video. The problem with video is that it gives you a thousand possibilities.

When we shot the first series of Aerobic Striptease, we shot five DVD's, so we slowly put out each DVD and timed it out that they were all done and shot and ready to go. We just started shooting the next series once we felt it was time to work on the next one.

Even if it's a "talking head documentary" about a social movement or something along those lines, I've always thought of editing the timing and the sense of the piece for the theatrical experience.

Then I will tape the sets and even though I'm not very successful sometimes I will try to cut out the fat and put the jokes closer together.

There are no more simple images... The world is too much for an image. You need several of them, a chain of images.

I don't have many expenses as a college student (mostly food) so I'm able to put advertising revenue right back into the production of new videos.

In TV and film, a little goes a long way. I see the show as horror so a lot of the [violence] is suggested. But it is violent. It is gory. I don't see any need to up the gore. Just to keep it as real and visceral as possible.

When I went to Africa I think that was when I really found a way to deal with what I had recently discovered; in two-dimensional terms, at least.

As far as digital technology has come, there's still one thing that digital cameras won't do: give you perfect color every time. In fact, if they gave us perfect color 50% of the time, that would be incredible, but unfortunately every digital camera (and every scanner that captures traditional photos) sneaks in some kind of color cast in your image. Generally, it's a red cast, but depending on the camera, it could be blue. Either way, you can be pretty sure-there's a cast.

I am a camera, with its shutter open. Someday, all of this will be developed, printed, fixed.

When I started, we had just the camera and the person, mostly. And if you wanted to do a dolly shot, particularly working in Chicago where I began, you'd get in the back trunk of a car, and you'd have a friend drive the car, or you'd get in some kid's little wagon that he plays with and have someone pull that for dolly shots.

I also really pay attention to whether the script embodies a full female character or if they're just wanting a two-dimensional objectified woman. So I also have that aspect to take care of as well.

Sometimes I'm drawing onto a computer directly, sometimes I'm drawing on paper , so I can't really talk about drafts. It's just like having soft clay until it hardens. At least as much of the problem has to do with the decisions of what to represent, how to represent that, and how to reduce it down. The words in the balloons aren't particularly poetic necessarily, but it has the same problem as poetry, which is that one has to do great reduction. And if I tried to draw everything, you'd just have a tangled mess of a picture. The stripping down takes much longer than building up.

I don't really do too many interviews - I like creating and being visual, shooting videos and movies. I just like showcasing my skill and challenging myself.