People of my generation who became photographers in the late fifties, early sixties, there were no rewards in photography. There were no museum shows. Maybe MOMA would show something, or Chicago. There were no galleries. Nobody bought photographs.
I spend a lot of time preparing. I think a lot about what I want to do. I have prep books, little notebooks in which I write everything down before a sitting. Otherwise I would forget my ideas.
If you shoot with a billion cameras, then there's no perspective. You want to use one shot at a time, so it's better to discover what that is before you shoot, rather than trying to make something in the cutting room, and then it just becomes generic...
Stanley Goodspeed: Why didn't you just tell them were the microfilm was and create a solution? John Mason: The moment they had the microfilm, they'd suicide me. Some solution.
Stanley Goodspeed: You mean I'm going out there, under the water? Womack: Well earlier today you wanted a gun. Now you're getting a gun and a wet suit.
Stanley Goodspeed: All right, I'll do it myself. I've had three weeks weapons training, I'll kick the... out of a platoon full of marines. No problem.
Stanley Kowalski: She is as famous in Laurel as if she was the President of the United States, only she is not respected by any party.
We have never heard of laundering in Macau; money laundering is unheard of. Mind you, my casino, every bit of money - someone says Stanley Ho, you issue me a check of so much money - we don't give that easy.
When I worked as a music and fashion photographer, I always had the nagging feeling that there was something missing, that I wasn't using my skills productively. I gave up photography - I walked away from it completely - and started doing care work.
I dream that someday the step between my mind and my finger will no longer be needed. And that simply by blinking my eyes, I shall make pictures. Then, I think, I shall really have become a photographer.
I don't want to do stories that don't have a heart. I'm just not going to be satisfied with stories where I can't be passionate about the subject, where I can't make a difference.
When I am preparing my 'lookalike' photographs, I think about the character of the real people, because, if the photographs are going to be plausible, you have to convince the viewer that they could have happened.
If I didn't have my camera to remind me constantly, I am here to do this, I would eventually have slipped away, I think. I would have forgotten my reason to exist.
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 true. What became important was to have a point of view.
The subject must be thought of in terms of the 20th century, of houses he lives in and places he works, in terms of the kind of light the windows in these places let through and by which we see him every day.
There are no rules and regulations for perfect composition. If there were we would be able to put all the information into a computer and would come out with a masterpiece. We know that's impossible. You have to compose by the seat of your pants.
I believe you have to keep the theological standard high; the Lord said, 'Be perfect,' and the leaders have to be striving for that standard with all there is in them.
I was always taught to let the obstacles be your guide because they lead you to places that you wouldn't have gone on your own. Instead of going through a rock, you go around it, creating a path.
Comedians take a neat situation and turn it into a mess. And in my books I do the same thing, but it's the other way around. I like to mess around with mess. A mess is only a mess because someone tells you it is.
Stanley Kubrick, I had been told, hates interviews. It's hard to know what to expect of the man if you've only seen his films. One senses in those films painstaking craftsmanship, a furious intellect at work, a single-minded devotion.
In Ireland, you go to someone's house, and she asks you if you want a cup of tea. You say no, thank you, you're really just fine. She asks if you're . You say of course you're sure, really, you don't need a thing. Except they pronounce it . You don't...
