Top 31 Dykstra Quotes
#1. One thinks the worst even while clinging to hopes for the best.
Robert Dykstra
#2. George Lucas wanted this moving camera for all of the photography in Star Wars. He was willing to take a risk with the concepts that I advanced with regard to ways for doing that.
John Dykstra
#3. I was involved in the color correction and the digital color correction. In an odd way, you end up making a film many times-the DVD, the archival record of a high-definition master, and so on.
John Dykstra
#4. My mind asked, "What's different this time?"
My heart replied, "I am.
Andrea Dykstra
#5. Because I come from that old-school optics environment, I know stuff about depth of field and camera movement and things that are not necessarily a part of the curriculum for people who started on a box and have never done anything that wasn't on a box.
John Dykstra
#6. You had to make a camera look like it's traveling at 300 mph, but you couldn't make it actually travel at 300 mph so you had to slow everything down and build devices to do that. So you were constantly engineering.
John Dykstra
#7. There, Clover found the "gardens and great trees and old cottages ... so beautiful" that seeing them exhausted her. It was as if, she joked with her husband, "this English world is a huge stage-play got up only to amuse Americans. It is obviously unreal, eccentric, and taken out of novels.
Natalie Dykstra
#8. Please don't give me words; give me a hug. Don't tell me that I'm holding up so well; break down with me and admit our shared wretchedness. Don't feign some bright mountaintop; walk with me through the dark valley where neither of us can utter a word.
Robert Dykstra
#9. Boy, am I glad there wasn't a fourth episode of Lord of the Rings.
John Dykstra
#10. The world will end before there is another .400 hitter ... I think that was mentioned in the Bible.
Lenny Dykstra
#11. Once the image was in the digital environment, one of the problems was, we had no means to reproduce the color spectrum, grey scale, and contrast that film produces, without converting the digital file to film, evaluating it, then going back and changing the digital image.
John Dykstra
#12. I had done a lot of rock 'n' roll photography when I was in college. I was one of many photographers who worked for The Doors, Jefferson Airplane, and all of these rock 'n' roll bands.
John Dykstra
#13. Film, as far as I'm concerned, is my area of artistic endeavor, so I never think of a movie that gets released as being all done-it's just when they took it away from you.
John Dykstra
#14. As with sound, images are subjective. You and I may not see the same color red as red, but we will probably agree that the image on the screen is a digital image or film image, based on contrast, bit depth, and refresh rate.
John Dykstra
#15. Digital imaging has untied our hands with regards to technical limitations. We no longer have to be arbiters of technology; we get to participate in the interpretation of technology into creative content.
John Dykstra
#16. I like engineering, but I love the creative input.
John Dykstra
#17. If you understand how the real world feels and looks and sounds it is much easier to create a virtual version of the real world.
John Dykstra
#18. It's an embarrassment of riches because you have directors who don't better. You end up with so much stuff going on the screen that you don't know where to look, and that's what I consider self-indulgent.
John Dykstra
#19. if you are in Christ, you always qualify for a blessing! Cursing is not coming your way. God is never mad at you. He is never disappointed in you. He is never frustrated and wanting you to get off your arse and get to work! Jesus did the work for you to get blessed. He said, "IT IS FINISHED!
Eric Dykstra
#20. It's easy to create something that has a lot of luster, but it's very hard to make something that has a lot of depth.
John Dykstra
#22. In the first Spider-Man, at the end of the movie, Peter Parker had to deny himself a relationship with a girl that he's in love with. The very next thing that happens is that he's swinging through the city.
John Dykstra
#23. We stayed there 24 hours a day. We lived and ate and slept that movie. We were enthusiastic, not just because of the movie, but because we had such a great collaborative team. We had a really good time. It was very much a family.
John Dykstra
#24. who have a lightness of touch, an informality based on amusement at their own ineptitude, bring the simplest of gifts to others - the releasing power of laughter."31
Robert C. Dykstra
#25. We live in a society that shuns guilt, hardly knows it. It is drummed into us: "Don't feel guilty." No one wants to pay the price of reconciliation, of atonement, of forgiveness.
Robert Dykstra
#26. It's very much like filmmaking always is-you're always asked to do something that you're not sure you know how to do. So you make an educated guess as to what you think will work and you hope between that and plan B, that you can end up with a product that's really good.
John Dykstra
#27. Human beings are really attuned to their senses. When you work in film, you are working with the visual and audio senses. An understanding of tactile and other components that go into the creation of those objects are important to making them look real on screen, like a plasma of energy.
John Dykstra
#28. I'm not here to make money, I'm here to make history.
Lenny Dykstra
#29. I think that era of mechanically figuring out of how to bring a particular evocative image to the screen was a really important part of my education.
John Dykstra
#30. I come from an era when we had to figure out how to bolt a camera to a motorcycle or an airplane or dig a hole and find a canyon deep enough to repel into it so that we can capture images that were real.
John Dykstra
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