A lot of photographers walk around looking for something 'out there,' but I'm very much interested in what's 'in here.'
My whole career I've been interested by the distinction between an emotional and an intellectual response to an artwork.
I'm not a politically radical person. In fact, I'm much more interested in being radical aesthetically.
I myself have already spent a third of my life in Germany, first in Cologne and then, since 1994, in Berlin.
I had a terrible time with feminists in the Seventies. They hated me, those women. I think they hated everything.
It's time to debate images, especially when someone's going to prison for downloading them.
I'm trying to photograph an old offshore oil city that is lying in decay in the Caspian Sea, but I've been having a hard time getting there.
For those looking at me, meeting me for the first time, it is the body they see. I am labelled as disabled.
There are about 30 words around you all the time, like 'thread' or 'exit.'
It takes a long time for a man to look like his portrait.
It was a requirement by the veterans to list the 57,000 names. We're reaching a time that we'll acknowledge the individual in a war on a national level.
If each photograph steals a bit of the soul, isn't it possible that I give up pieces of mine every time I take a picture?
Golf is the most useless outdoor game ever devised to waste the time and try the spirit of man.
Andy Kaufman: I am from Caspiar, an Island in the Caspian Sea. It sunk.
I always look at money not as a motivating factor but as an element in the composition. You can't ignore it, but you've got to be very careful that it's not motivating you.
I don't think anybody ever makes any money buying and selling stock. They have to make money by keeping the stock.
The most awful museums are in China. They have magnificent stuff on display and just the worst way of displaying it. They just don't spend money on lighting and installation.
Just selling through a movie theater is not ever going to be a viable way to make money back on a movie anymore.
I didn't want to tell the tree or weed what it was. I wanted it to tell me something and through me express its meaning in nature.
I've discovered just how symbiotic the relationship is between writers, directors and actors. They ask the same questions and strip down texts in exactly the same way.
The relationship between reader and characters is very difficult. It is even more peculiar than the relationship between the writer and his characters.
