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Famous People » ken burns

Ken Burns

  • I treat the photograph as a work of great complexity in which you can find drama. Add to that a careful composition of landscapes, live photography, the right music and interviews with people, and it becomes a style.
    Ken Burns
  • In a sense I've made the same film over and over again. In all of them I've asked, 'Who are we as Americans?
    Ken Burns
  • In most films music is brought in at the end, after the picture is more or less locked, to amplify the emotions the filmmaker wants you to feel.
    Ken Burns
  • Jazz is a very accurate, curiously accurate accompaniment to 20th century America.
    Ken Burns
  • Like a layer on a pearl, you can't specifically identify the irritant, the moment of the irritant, but at the end of the day, you know you have a pearl.
    Ken Burns
  • Louis Armstrong is quite simply the most important person in American music. He is to 20th century music (I did not say jazz) what Einstein is to physics.
    Ken Burns
  • One of the things I really like about Ford's films is how there is always a focus on the way characters live, and not just the male heroes.
    Ken Burns
  • The flame is not out, but it is flickering.
    Ken Burns
  • The genius of our country is improvisation, and jazz reflects that. It's our great contribution to the arts.
    Ken Burns
  • The stories from 1975 on are not finished and there is no resolve. I could spend 50 hours on the last 25 years of jazz and still not do it justice.
    Ken Burns
  • The way I work, the interview never becomes larger than the person being interviewed.
    Ken Burns
  • To say that an artist sells out means that an artist is making a conscious choice to compromise his music, to to weaken his music for the sake of commercial gain.
    Ken Burns
  • We're having a hard time understanding where jazz is going. What happened to jazz?
    Ken Burns
  • When a documentary filmmaker, working in the style that I do, suggests that there has been a shooting ratio of 40 hours to every one hour of finished film, that doesn't mean that the other 39 are bad.
    Ken Burns
  • When you are editing, the final master is Aristotle and his poetics. You might have a terrific episode, but if people are falling out because there are just too many elements in it, you have to begin to get rid of things.
    Ken Burns
  • Wynton told us that Miles sold out, just wanted to make more money, just wanted to sell more records. I don't believe that Miles sold out but I'm not in a position to say.
    Ken Burns
  • You can learn as much about the history from reading about the present as you can vice versa, that is learning about the present through history, which is what I do for a living.
    Ken Burns
  • You don't work on something for six years and be blind to the myriad of other approaches.
    Ken Burns
  • You know, you meet some people, and do a lot of interviews, and you come across a Buck O'Neill and you know you are going to know him for the rest of your life. The same thing happened with Curt Flood.
    Ken Burns
  • You need, as a historian, essential triangulation from your subject and the only way you get that triangulation is through time.
    Ken Burns

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