In my photographs it is apparent that there was no posing at the moment I released the shutter.
While photographs may not lie, liars may photograph.
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.
I don't use composers. I research music the way I research the photographs or the facts in my scripts.
There are particular images that I like. Allegro is composed of a series of still life photographs that has been put to speed. There is so much care that has gone into the composition of the cinematography.
There are biographies, I looked at a lot of photographs of him, I heard his voice over and over and over again. You get in there and get to know the man by all of those pieces of information.
The photographs that are art have to be separated from the rest - then preserved.
If you compare Everest photographs in 1953 with its current state, things are melting. I imagine if I were a golfer in Indiana, I'd be hard-pressed to believe in climate change because nothing's going on there. But when you're up in the mountains and seeing the glaciers melt away, it's an obvious physical manifestation of a warming planet.
The newspapers turn a blind eye to how they get their material as long as they have great photographs.
During the winter when the weather is too poor to work outside, I do use drawings and photographs, but I change my work so it is not just a time and place study.
I still love to look at photographs but I couldn't do it myself anymore.
When the young Princesses Elizabeth and Margaret were growing up, that was at it's height and the War cemented that with photographs of the Royal Family having breakfast together and so on, by pinning their reputation so firmly on that particular issue.
I hate being the subject of photographs.
It is, alas, chiefly the evil emotions that are able to leave their photographs on surrounding scenes and objects and whoever heard of a place haunted by a noble deed, or of beautiful and lovely ghosts revisiting the glimpses of the moon?
I had always been kind of obsessed with making a home of my own and was always drawing rooms that I wanted to live in, down to pictures on the wall and the faces that would be in the photographs, and how the couches would be situated.
I should be getting photographs of me with my arm around these people like restaurant owners do, because eventually I am going to have to prove to my kids that once I was an actor!
Some time ago, we went to Asia and took a camera along, and I began to do what I'd done even years ago doing people. I couldn't get interested in it. And I did hundreds of photographs of details of the monuments as sculpture.
If we limit our vision to the real world, we will forever be fighting on the minus side of things, working only too make our photographs equal to what we see out there, but no better.
I'm exchanging molecules every 30 days with the natural world and in a spiritual sense I know I am a part of it and take my photographs from that emotional feeling within me, rather than from an emotional distance as a spectator.
I had already done a lot of research for Rough Riders, keeping notebooks and old photographs. Some of the books were antiques for that time period, with the covers falling off.
My knowledge of the state of President Roosevelt's health was derived entirely from conversations, from newspaper articles and from photographs.
The notion of time bothers me. You look at thirty-year-old photographs and realize how the time has passed.
To take a photograph is to participate in another person's mortality, vulnerability, mutability. Precisely by slicing out this moment and freezing it, all photographs testify to time's relentless melt.
When I write, I imagine scenes. I write things down. I take photographs. I do some casting. I rewrite. It's a permanent making or remaking.
I always say that I don't want to be sentimental, that the photographs shouldn't be sentimental, and yet, I am conscious of my sentimentality.
There are wonderful museums with lots of photographs of 1920's musicals.
I look back at photographs and I remember at the time I thought I was not very attractive.
I collect art. I just recently bought two gorgeous photographs of Marilyn Monroe by international photographer Eve Arnold and I know it sounds horrible but when she dies all her pictures are going to be worth triple. But I won't tell you how much I got them for - let's just say it was a lot.
There are photographs that I don't take now that I previously would have taken without any thought at all as to any misinterpretations.
Animal rights activists talk about cruelty and torture, some backing their assertions by publishing out-of-date photographs of 'experiments' banned long ago. This is a misrepresentation. The work we do is performed with compassion, care, humanity and humility. I have never seen an animal suffer pain.
I'm not photographing the model in the classic sense; the model is playing a part in my photographs. It's more like theater. I always work with models I know, and I let them participate in deciding how to act their part.
I always see my songs in colors, and I'm often more inspired by movies and photographs than I am by other songs when I write my music. I'm also inspired by fashion, and I want my music to be a visual painting of what's in my mind.
When I climb into my car, I enter my destination into a GPS device, whose spatial memory supplants my own. I have photographs to store the images I want to remember, books to store knowledge and now, thanks to Google, I rarely have to remember anything more than the right set of search terms to access humankind's collective memory.
All my life I've taken photographs of people who are completely at peace being what they were in the situations I photographed them in.
I've looked at photographs of myself during concerts and it sometimes looks as if I'm in a fencing move, with a guitar in my hands instead of a sword.
Life rarely presents fully finished photographs. An image evolves, often from a single strand of visual interest - a distant horizon, a moment of light, a held expression.
