It was 1966 by the time I started taking pictures seriously and books, newspapers and magazines of the time were full of great pictures that helped to inspire me.
But what's interesting is now - and not only in horror, but across the board - the studios basically only make B pictures with A budgets. That's the biggest difference.
I got my hair braided at this event once, and when I got the pictures back from it, I just became obsessed with them. They're kind of my thing now.
I'm pretty much on all social media, but Instagram is the coolest, and I use it the most because I take a lot of pictures and I like to post them, but I link them all to each one.
Wolfgang Tillman's stunning large-scale pictures, being shown for the first time, were so offhand I failed to see them as art.
I can't sleep in the evenings. Most of the pictures people see of me are me going to work events: a Fendi dinner one night, a Prada dinner the next, and working all day.
When you start writing a picture book, you have to write a manuscript that has enough language to prompt the illustrator to get his or her gears running, but then you end up having to cut it out because you don't want any of the language to be redundant to the pictures that are being drawn.
I would never deny the importance of the media, but I wouldn't go out of the way to splash my pictures all over town. I'd rather let my work do the talking.
I like to come into my workspace and feel it's a living environment and not frozen, which is why I often change or add to the pictures on the wall.
What critics call dirty in our pictures, they call lusty in foreign films.
Everybody wants blockbusters. I like to see a few pictures now and then that have to do with people and have relationships, and that's what I want to do films about. I don't want to see these sci-fi movies, and I don't want to do one of those. I don't understand it.
There was a French singer, Francoise Hardy - I used to look at her pictures and try to dress like her.
I had always loved John Ford's pictures. And I came to love him, too, but I was frightened to death working for him. He used the shock treatment while directing me.
I was raised by my grandparents, and they always made sure that I had a pencil and some paper, whether we were in the car or at a restaurant. While they were enjoying a nice meal, I would be sitting there drawing funny pictures of the waitress.
I would put my pictures up against anybody's in this world. Certainly in my own day I bow to no one. I don't think there's another director in the world who works harder to make better films than I do.
I am big. It's the pictures that got small.
Pictures of Amazons on vase paintings always show them as beautiful, active, spirited, courageous, and brave.
I don't know why my pictures come out looking so good. I just don't get it.
When I was in high school and college, I thought everybody could think in pictures. And my first inkling to my thinking was even different was when I was in college and I read an article about, you know, some scientist said that the caveman could not have designed tools until they had language.
The newspapers loved pinup pictures of pretty young swimmers, and as a national champion, I got more than my share of space in the sports pages.
The ability to get ahead in an organization is simply another talent, like the ability to play chess, paint pictures, do coronary bypass operations or pick pockets.
So when I looked at pictures and produced my calendar and edited the pictures, it wasn't just about looking at myself and thinking I'm attractive. I try to take myself out of it and get into the whole process of putting it all together.
Nature is not only all that is visible to the eye... it also includes the inner pictures of the soul.
It can make you sad to look at pictures from your youth. So there's a trick to it. The trick is not to look at the later pictures.
Virtually always I get my best pictures when everybody thinks the shoot's done.
I am just trying to find a way to make pictures.
It's too bad for us 'literary' enthusiasts, but it's the truth nevertheless - pictures tell any story more effectively than words.
It's funny looking at yourself. You know how it is when you look back at old pictures? It's just funny looking back at yourself walking and talking at age 14.
I have got pictures all around the rooms I sit in. I have got a very mad picture of a dog standing on a black thing on a piece of rope. It was drawn and painted by a Romanian poet who was under house arrest, and it is terrific.
The way Ben Gibbard paints a picture, you feel like, 'I was there that day with him.' You really feel the way he paints pictures and speaks and talks. It's almost like talk-singing. Paul Simon does that very well as well. He's a huge influence of mine.
When you start thinking about taking pictures, sending an e-mail, receiving an e-mail, speaking into your phone and have it transcript voice into text and then sent as an e-mail, it's mind-boggling.
The hallway of every man's life is paced with pictures; pictures gay and pictures gloomy, all useful, for if we be wise, we can learn from them a richer and braver way to live.
If you look at all the pictures of women in magazines, everybody's got a forehead that looks like a billboard. Completely blank.
The way things have changed. The pictures in the womb they have now. They're just amazing. They're just like a snapshot of a person.
A thing that you see in my pictures is that I was not afraid to fall in love with these people.
These are the people who are going to see the pictures in my museum.
