Zitat des Tages von Anton Corbijn:
I didn't make music videos in order to make a movie. Music videos were the goal for me, so it was never a step to something else. I approached it seriously.
You always want to come back with an image that's interesting visually, and you hope to get something from the person you photograph that's different than other images you know of these people.
I'm not totally blind to the fact that I like people to see my work, but if it's not something I would enjoy seeing in a magazine, then I think I shouldn't be making it. I think that I don't represent only myself, I represent more people; I mean, if I like it, then I think more people will like it because I think I'm quite a normal guy.
I had no agent, and I was getting approached by so many people that I tried to escape for a while because I couldn't believe that world. Photography is not an industry, and suddenly an industry came to me, so I sort of had to accept it in the end and get an agent.
The only advantage of the CD is that you have a booklet that can tell a bit of a story, but the little covers are just boring. I love vinyl, and I have loads of it. It's the same thing as digital photography versus film photography. It's a quality thing.
I have such a love of good music that I find even melancholic music uplifting. Maybe I'm a rare breed.
I think Amsterdam is to Holland what New York is to America in a sense. It's a metropolis, so it's representative of Holland, but only a part of it - you know, it's more extreme, there's more happening, it's more liberal and more daring than the countryside in Holland is.
For me N.M.E. was a very big thing. When I first came to the United Kingdom I started taking pictures for them and I became their main photographer for five years, and that's really been the basis of everything I've been doing since.
It's so easy for people to stick a label on you, and then that taints everything you touch.
There are some elements of digital photography that I don't really like, such as the fact that you see the results immediately.
I don't like fast editing.
I wanted to do a film for a while, but I never found a script that I felt I was going to be the right person for; because if you've never made a film, you're not taught how to make a film, and you feel like you lack skills.
Apart from photography and music videos, I also do graphic design.
In England, I'm already labeled a rock photographer, which is a little insulting, because I'm not a rock photographer at all.
When I was younger, I'd buy a vinyl album, take it home and live with it, and I think that attachment's largely gone for the file-sharing generation.
A lot of scripts that I was given I didn't feel were right for me, because I didn't feel anything for them - I didn't feel like I was going to change in life and start directing.
Film was something that I didn't see as a step up from music videos, though obviously, music videos, the fact that you work with a crew and a film camera, are the closest to film I've ever been. That is the only schooling I've ever had.
With a film, you try to keep your vision in it. I think with 'The American' and 'Control' I managed to do that.
I don't want to knock photography, and I don't feel that film is up there but photography isn't. I think they're next to each other really, you know. There's an incredible strength to a still picture. Or there can be an incredible strength to a still picture that can outlive you. That can outlive a film.
My first pictures are from 1972, and my first proper camera dates back to 1973. During the first year I used my father's camera. It had a flash on it, which I don't like, but I didn't know anything about photography back then, so it was just what I did.
There's a lot about records that you cannot feel from a CD.
My life changed incredibly when I moved from Holland to England.
I've finally become an old guy.
My photography changed from being more documentary-like to arranging things more, and that came into being partly because I started doing music videos, and I incorporated some things from the music videos into my photography again, by arranging things more.
In 1979, I moved to England and photographed Joy Division and Bowie and Beefheart. At that time I got images that I felt had that special, well - power is a big word to say - more like intimacy and ambition that outlasted the photo shoot. I felt that they would have a longer life.
The really simple approach to photography is a great balance to making the films.