Working as a showrunner has made it tougher to watch other shows and movies.
I'm a playwright who gets involved in movies when I'm not writing a play.
It is more important to click with people than to click the shutter.
I enjoy working in a quiet and subversive way.
Not being able to touch is sometimes as interesting as being able to touch.
The only people I really hate are parking attendants.
A very subtle difference can make the picture or not.
I didn't decide to be a photographer; I just happened to fall into it.
In would rather die of passion than of boredom.
I'm trying to make work that is reflective and is encouraging of reflection.
In my work, I explore my own Catholic obsessions.
I need to work to feel well.
Work is making a living out of being bored.
I want paint to work as flesh.
Work on the accent, it will enliven the whole.
I'm interested in reaching the masses with my work. It's one of my goals.
Art work is inconclusive. It opens your mind up. At least, that's what I hope it does. And advertising, using exactly the same photograph, closes things down. It makes it conclusive. It sells a product, and that is its primary function.
I went to school at the San Francisco Art Institute, thinking I was going to become an art teacher. Within the first six months I was there, I was told that I couldn't be an art teacher unless I became an artist first.
I have no real training in the history of fine art or furniture; my eye just works by proportions. I react intuitively. In London, it's all about color because the weather is so gray, and in that cold light they look beautiful.
Black-and-white photography, which I was doing in the very early days, was essentially called art photography and usually consisted of landscapes by people like Ansel Adams and Edward Weston. But photographs by people like Adams didn't interest me.
Sometimes people let the same problem make them miserable for years when they could just say, That's one of my favorite things to say.
