[Cameras] tend to turn people into things and the photograph extends and multiplies the human image to the proportions of mass-produced merchandise and, [in the age of photography] the world itself becomes a sort of museum of objects that have been encountered before in some other museum and to say that the camera cannot lie is merely to underline the multiple deceits that are now practiced in its name.

To see a man slip on a banana skin is to see a rationally structured system suddenly translated into a whirling machine.

Don't ask whether it is right or wrong. Instead try to find out what is going on.

In large measure, writing is the spatialization of thought.

Information and images bump against each other every day in massive quantities, and the resonance of this interfacing is like the babble of a village or tavern gossip session.

I wouldn't have seen it if I hadn't believed it.

TV acting is so extremely intimate, because of the peculiar involvement of the viewer with the completion or "closing" of the TV image, that the actor must achieve a great degree of spontaneous casualness that would be irrelevant in movie and lost on the stage. For the audience participates in the inner life of the TV actor as fully as in the outer life of the movie star. Technically, TV tends to be a close-up medium. The close-up that in the movie is used for shock is, on TV, a quite casual thing.