I'm trying to do what I have never done - give the impression one has on entering a room: one sees everything and at the same time nothing.
The first time I heard of suicidegirls was when a model from there contacted me to see if I wanted to do a shoot. I can't remember what happened with that but we didn't end up doing it.
In a way, I pattern myself after all the bands I used to like as a kid. Every time they put out LPs, they had a whole new look and a new sound.
When I came to the West, I saw many, many things for the first time. But I also saw the prosperity of the West critically. It wasn't really Heaven.
I want my handbags and my shoes to be stylish but I want to make sure that they're versatile. I travel and I have to make sure the pieces I put into my bag can go with a dress or with shorts or jeans.
Andy: I can't tell... if it's an "A sharp" or if it's a "B flat"! Mikey: Heh, if you hit the wrong note, we'll all "B flat!"
Andy: [Watching Brand] Brand is being so sweet to me. Stef: Oh come on, come on! Where are you? You're in the clouds and we are in a basement!
DS Andy Cartwright: You wanna be a big cop in a small town? Fuck off up the model village.
Andy Dufresne: [in letter to Red] Remember Red, hope is a good thing, maybe the best of things, and no good thing ever dies.
Andy Dufresne: I was in the path of the tornado... I just didn't expect the storm would last as long as it has.
Red: [narrating] His first night in the joint, Andy Dufresne cost me two packs of cigarettes. He never made a sound.
Warden Samuel Norton: [after Andy escapes] I want him found. Not tomorrow, not after breakfast - *now*.
Andy Dufresne: You know the funny thing is, on the outside I was an honest man, straight as an arrow. I had to come to prison to be a crook.
[Woody's arm is torn] Andy's Mom: I'm sorry, honey, but you know... toys don't last forever.
Andy: You must choose, Sheriff Woody. How shall she die? Shark, or death by monkeys?
It's not worth it, it's not about money, especially when you're dealing with a culture. It should be about elevating the idea of what we are and who we are as people in the cinema, and that kind of stuff keeps dragging us back down.
It was 1975. I had spent the year at the Boston Museum School doing some very bizarre performance works. The last one included going to the North Magnetic Pole and spending all of my money.
I'm a huge, huge fan of photography. I have a small photography collection. As soon as I started to make some money, I bought my very first photograph: an Henri Cartier-Bresson. Then I bought a Robert Frank.
Most independent filmmakers in Britain and North America work for commercial crews and then have their own projects when they've got enough money saved up to do so.
You can muscle your way to the top as long as you're part of the production, which I am. I'm knitted into the money, so it's very hard to extricate me from the decision-making dynamic.
It'd be nice to make lots of money but it's quite difficult, because every time I make lots of money I make a bigger piece that costs lots of money.
