A lot of photographers like models to be blank canvases - but bland girls don't influence me. I don't like playing with dolls; I like playing with people.
I don't like a tormented photograph. Something attracts you in them, but the attraction isn't because she has a pot on her head or tonnes of make-up and weird clothes and weird everything.
When you approach something to photograph it, first be still with yourself until the object of your attention affirms your presence. Then don't leave until you have captured its essence.
I can see now that a concept or even a feeling makes no sense unless out of our substance we spin around it a web of references, of relationships, of values.
You're not just this person who's from your own specific experiences, but the collective experience of what makes you who you are because of time.
Having had that experience... I think, what modern culture wants to see is the relationship with the woman. I don't think you can tell a story on film nowadays where the woman simply is there for the man when he decides to settle down.
I feel like, in a lot of shows where the woman is in charge, the woman is this ball buster and the guy is sort of weak and spineless. And that's never been my experience in a relationship. I think it's much more interesting that the guy is the boss. ...
I became interested in photography during my first visit to the United States. I was a student at a university in Holland. I was overwhelmed by the beauty of the American West. That was when I learned about the tradition of nature in American photogr...
Beauty, like truth, is relative to the time when one lives and to the individual who can grasp it. The expression of beauty is in direct ratio to the power of conception the artist has acquired.
Violence can be very grotesque and also intensely attractive. What interests me is how the two - beauty and violence - live side by side, and how moments can be created and erased almost simultaneously. Destruction is painful, but at times it can be ...
Beauty is as relative as light and dark. Thus, there exists no beautiful woman, none at all, because you are never certain that a still far more beautiful woman will not appear and completely shame the supposed beauty of the first.
Too little is it considered, while we gaze on aristocratic beauty, how much good food, soft lying, warm wrapping, ease of mind, have to do with the attractions which command our admiration.
Foxes was a movie that didn't do a lot of business but it didn't do too badly critically and eventually they offered me other things. The interesting thing was that next I tried a film called Star Man, which Michael Douglas was producing.
I believe that the process could be fun, I just think that making movies is really tough. And it's stressful as it is, and I think that most of us got in this business because it's fun to make movies.
First, speaking for myself, I don't want to ever be in a position where I'm telling other directors how to make movies, because I don't think it's any of my business.
When I was building the Vietnam Memorial, I never once asked the veterans what it was like in the war, because from my point of view, you don't pry into other people's business.
Film making is an expensive, as well as a serious business. We should be able to entertain our audiences, who are fully aware of what they want. Every filmmaker has a different point of view and presents facets of society.
I think about death all the time. I know there's nothing out there, but I'm curious. There's a 300 billion-to-one chance that there might be an energy that goes somewhere else, but I doubt it.
Chance is the one thing you can't buy. You have to pay for it and you have to pay for it with your life, spending a lot of time, you pay for it with time, not the wasting of time but the spending of time.
It's impossible to change the social without changing the personal - you have to put your money where your mouth is. And if you're not making those challenges at home, it's unlikely you'll make them in a larger setting.
Cubism was an attack on the perspective that had been known and used for 500 years. It was the first big, big change. It confused people: they said, 'Things don't look like that!'
