Think about the photo before and after, never during. The secret is to take your time. You mustn't go too fast. The subject must forget about you. Then, however, you must be very quick.
Every time that we've ever fought, we fought to keep from bein' destroyed. We've never started a war.
I'm very representational some of the time, and a little all of the time. But when you're painting out of your unconscious, figures are bound to emerge.
A lot of my works deal with a passage, which is about time. I don't see anything that I do as a static object in space. It has to exist as a journey in time.
Often while traveling with a camera we arrive just as the sun slips over the horizon of a moment, too late to expose film, only time enough to expose our hearts.
Each guy has his own space. We all end up in one of the other guy's rooms all the time. We always end up together, as far as people getting along.
If I'd had more time or been a better writer, I would have tried to put the same ideas and experiences into a novel. But I didn't so I slapped it up on the Web.
If you can't find your inspiration by walking around the block one time, go around two blocks-but never three.
Well, it takes a certain amount of money. And I've got to see pictures of the person ahead of time. If I don't like the way the person looks I won't do it.
On the little money I had collected I lived in Berlin very cheaply, ate very cheaply. And already in 1920 I saved the first salaries I received to go to Munich.
There's so little difference between television and features as far as you make the film. I mean, you have less money and it's a little quicker, but the concept is all on television.
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.
I don't think money can help you become a better painter, for sure. You can have all the studios you want; it won't help you make a better painting.
I think technology has advanced so far now that there are some cameras on the market that give film a run for its money. It's all about flexibility in capturing images, and digital or film, it doesn't matter to me.
It is so much easier to be nice, to be respectful, to put yourself in your customers' shoes and try to understand how you might help them before they ask for help, than it is to try to mend a broken customer relationship.
I tend to believe, when you're in a relationship, if you don't fight, it's not a real relationship. You have to have arguments and tensions, otherwise I don't believe it.
Our first scene is sort of a reunion between the X-Men characters, which establishes everyone's relationship to one another, sort of like a recap for all those who have forgotten since the last movie.
One of the reasons I loved working with Tom is people feel they know who he is... I think working with an actor who the audience already has a relationship with actually helps you in a film like this.
All of my work has been about ideas of utopia and dystopia. I think that's what gives America interest. It's many things all at once. It's such a complicated society.
What makes the production of my work so expensive? The whole installation thing - the construction, the objects, the technology. It really adds up.
I love Starbucks. Maybe that's a bit sad. But I definitely need my caffeine. It's what gets me out of bed in the morning.
