Blanche DuBois: Please don't get up. Stanley Kowalski: Nobody's going to get up, so don't get worried.
Stanley Kowalski: Hey, toots! Canary bird, will you get out of the bathroom! [pounds on the door]
Well, it takes a certain amount of money. And I've got to see pictures of the person ahead of time. If I don't like the way the person looks I won't do it.
Moreover, the concern of some that moving DNA among species would breach customary breeding barriers and have profound effects on natural evolutionary processes has substantially disappeared as the science revealed that such exchanges occur in nature...
I've never been in love with fashion, actually; trends and catwalks don't interest me. I love clothes; I love them historically and currently. They represent a spirit of the times and the zeitgeist.
I like to think that my works flow like music. That may be one reason I work in large groups versus one picture of one thing; it's the flow of the whole series that counts.
Music has shaped men's fashion, and transposed in a playful and witty manner its riding or military heritage. It is difficult to figure out who leads, but music and fashion are connected genetically.
We are only beginning to learn what to say in a photograph. The world we live in is a succession of fleeting moments, any one of which might say something significant.
Among other things, I use a Samsung mobile phone, a very bad quality video camera, and an old Olympus with extremely bad Sigma lenses.
I'd like to take more pictures of real celebrities. It would be fabulous to photograph Brad Pitt. He's so good-looking and just such a star.
Warhol was the ultimate voyeur, constantly observing people through the lens. He watched and listened, but did not participate. Behind the camera, Warhol was in control.
Photography acts as a teaser, suggesting we can know something that we can never know. And the more we can't obtain it, the more we want it.
When I say I want to photograph someone, what it really means is that I'd like to know them. Anyone I know I photograph.
It's a heavy weight, the camera. Now we have modern and lightweight, small plastic cameras, but in the '70s they were heavy metal.
In a portrait, you have room to have a point of view and to be conceptual with a picture. The image may not be literally what's going on, but it's representative.
I went to Yosemite as an homage to Ansel Adams. I could never be Ansel Adams, but to know that's there for us - there's so much for us in this country.
When you go to take someone's picture, the first thing they say is, what you want me to do? Everyone is very awkward.
I've created a vocabulary of different styles. I draw from many different ways to take a picture. Sometimes I go back to reportage, to journalism.
What I am interested in now is the landscape. Pictures without people. I wouldn't be surprised if eventually there are no people in my pictures. It is so emotional.
Lennon was very helpful. What he taught me seems completely obvious: he expected people to treat each other well.
When I started working for Rolling Stone, I became very interested in journalism and thought maybe that's what I was doing, but it wasn't.
