All my ex-girlfriends or wives are all kind of great friends and I've never understood somebody who can live with somebody for five or six years and then not like them.
I think photographs should be provocative and not tell you what you already know. It takes no great powers or magic to reproduce somebody's face in a photograph. The magic is in seeing people in new ways.
I can't remember exactly how old I was when my parents gave me my first camera, but it was a Canon, and I was certainly far too young to have such a good camera.
I sometimes find the surface interesting. To say that the mark of a good portrait is whether you get them or get the soul - I don't think this is possible all of the time.
If the setups take too long, you wind up losing momentum. Momentum is very good for comedy. Not having to do eight setups in a single scene and have it take five hours is very good for comedy.
Celebrities do look different in real life from our images of them - there is a big gap. And that is what my work is about: the gap between the image and the celebrity themselves.
When you put an individual on the cover of a big picture magazine, like 'Life of Look', their career skyrocketed. As a photographer, you were very empowered; people came to you, bowing to you and what you represented.
We use fashion for status and to beautify and there's nothing wrong with that, but when it becomes completely unbalanced, then you're living a decadent life. And when that happens on a global scale, you're living in a decadent world.
What I learned from Lennon was something that did stay with me my whole career, which is to be very straightforward. I actually love talking about taking pictures, and I think that helps everyone.
What I loathe is the multi-national conglomerates who must take responsibility for the degradation and pollution of so much of our landscape with their factory farming and greed.
I think a photograph, of whatever it might be - a landscape, a person - requires personal involvement. That means knowing your subject, not just snapping at what's in front of you.
I used to hate doing color. I hated transparency film. The way I did color was by not wanting to know what kind of film was in my camera.
In the photographs themselves there's a definite contrast between the figures and the location - I like that kind of California backyard look; clapboard houses, staircases outdoors.
Photography has always been about documentary, the depiction of the instant, a moment, sometimes a place. Each project is somehow an experimentation of a specific context or a character.
A woman said to me when she first sat down, You're photographing the wrong side of my face. I said, Oh, is there one?
Over the years I must have spent thousands of hours silently brushing on the liquid coatings, preparing each sheet in anticipation of reaching the perfect print.
I'd worked in Clockwork Orange with Stanley Kubrick and since Stanley was such a prestigious director this opened all sorts of doors for me - one of them being Star Wars.
I wish we could launch a ground-breaking competition that motivates kids to invent new ideas in sustainable living.
Digital photography and Photoshop have made it very easy for people to take pictures. It's a medium that allows a lot of mediocre stuff to get through.
I don't really have a favorite camera. I use a Leica and Canon a lot. It depends, especially professionally, on the requirements. But my carry-around camera is a Leica.
Professionally I've evolved with what's required, but the pictures I do for pleasure haven't changed, except for the cars in the background, the clothing. I haven't changed at all.
