I'm half deaf. I have nerve damage and a constant ringing in both of my ears, and there are certain times and conditions when I can hardly hear at all.
A virulent, aggressive minority has decided that Americans don't know themselves what it is they should see, and need to be protected by people who are wiser than they are, even if they are only a tiny sliver of the population.
Now, I recognize that there are certain postures and angles that make people see red, which are evidence of original sin or something, and I avoid that. I don't shoot that any more.
Some of the people that I photographed as sticks became much more voluptuous, much rounder, in some cases dramatically so, and I think they're even more beautiful.
I could get my camera and point it at two people and not point it at the homeless third person to the right of the frame, or not include the murder that's going on to the left of the frame.
With a photograph, you are left with the same modes of interpretation as you are with a book. You ask: 'What do we know about the author and their background? What do I know about the subject?'
Everybody just uses the one-move rule without realising when it is too late to actually move and cross over and when it is actually being dangerous.
Some younger drivers didn't grow up seeing racing as being dangerous. They break their little finger, and they are surprised. It's like, 'Be happy it's only that.'
Typically, when you have a depressed individual, they feel hopeless. They feel miserable. Their mind is racing, their heart is pounding. They feel anxious. They feel exhausted yet they can't sleep.
Actors are hard to photograph because they never want to reveal who they are. You don't know if you're getting a character from a Chekhov play or a Polanski film. It depends what mood they're in.
I'm a very modest person. But I'm also extremely confident. And if you put me in the situation or in the moment, I'm gonna have some swagger, I'm gonna have some cockiness.
I try to keep myself on an even keel by trying to be as critical of myself as I am of other people. I try to separate my performance from myself.
If someone is being absolutely critical of me as a driver, what could they say? I am also critical of myself to try and keep things in perspective. That is very important.
The British tend to shy away from the spotlight. We don't like being singled out in any way, and I think that is something which is important for me to learn to do.
To be honest, I think for part of my late teens my character didn't really develop very much. I was in a state of cold storage.
Winter testing is essential but there comes a point where you have had enough of all the rehearsals and the pretend racing. You just want to get down to the real action.
Realistically, we could aim for the top three in the constructors championship. Realistically, we could look at winning more races. Three race wins would be very satisfying.
As far as the live shows go, we're not leapfrogging all the smaller venues. We would have bypassed these kind of shows and gone straight to the Arena shows, but we didn't want to.
My favorite is still the one that I started off with, which is a Les Paul Standard. I've played that at every gig I've ever had. And that's my starting point in the studio.
I moved to New York when I was 15, but my parents lived nearby in Connecticut, so I could go be in this incredible countryside when I needed it.
No one would bring their horse into a studio, because they don't want to bring their prized animals into an environment where they wouldn't be comfortable or where they might panic and hurt themselves.
