When I first came to America there still was Look Magazine and LIFE Magazine, and the photography in those magazines was amazing to look at. They had the best portraits, and their news photography.
In fact, I probably learned more about photography from studying black-and-white photography in those magazines [Look Magazine and LIFE Magazine] than I did from watching movies here. That's the truth.
I wanted to tell stories that moved. Nothing stays the same, and that's why photography is important. The world flickers and changes, and that's why video is important.
Polaroid, you know, goes against everything that photography is now. You can't make multiples. Only one exists. I love that. By the way, while we've been talking I've now seen a total of three people I know walking on 8th street.
As a teenager, I loved acting, painting, photography, and making films with my friend's Super 8 camera. But I always loved writing the best. I chose writing even before I knew poetry was available to me.
That's one of the wonderful things about the whole process of photography - eye contact can be very revealing.
My biggest challenge was moving from photography to film without losing my way of working - which is very intimate and learning to collaborate with more people, since photography for me is a very solitary process.
I think what it was with the war photography was the concerned eye, the desire to document these situations to show the world the horrors of war. It inspired me to document prostitution; inspired me to document homelessness in America. We are the richest country in the world, yet we have people suffering, so it helped me to look at things in that manner.
I think that's what the war photography did for me. It showed me the human side of people and how certain circumstances can change people's lives.
I'm shooting a gangbanger, but as a dignified man. That's pretty much what war photography did: seeing images of soldiers in a dignified way. They might have been killers in Vietnam, but I'm seeing another side of them, and looking at images of the the American soldiers, also the North Vietnamese and the Viet Cong - I never saw an enemy.
I think that photography has allowed me to have a voice. I used to stutter, and once I overcame that struggle, it felt good to tell people they were beautiful and special.
Photography is humbling, it really is, and it really allows for me to atone for some of the missteps I've made throughout the course of my life.
There was a time in my life that I may not have been that nice, and now I'm in a position to contribute to the education of young people, and teach them to be compassionate, be more loving, more caring, to not use profanity, to not pollute the environment - these are things that I address in my photography. I
From a literary standpoint, I've been loving Raymond Carver's short stories, William Carlos Williams' poems, Richard Siken's 'Crush', John Fante, and Jim Harrison's book of ghazals. I love film and photography too, so many of my songs are very image rich from those influences.
I am inspired by great food, theater, books, the beach, black-and-white photography, and great vocalists, like Dianne Reeves, Alice Smith, and Shirley Horn. I am inspired by my mentor Diana Castle, who is guiding me towards a truth and honesty in my life and work that I have always longed for.
Just someone trying to shoot in 70mm deserves the nomination, and he[Quentin Tarantino] is shooting interiors, like tight interior shots, for that matter. Obviously [Quentin] is the director and demanding the shots, but all credit for the beauty of that film [Hateful Eight] goes to the director of photography.
And even being in the middle of it, at the LVMH group with Dior, there are certain parts of it that I'm just not really in, because it's not in me or my nature. The whole scene around it, the events, the photography ... It's never really been my thing. But I don't take a critical position on people who are very much about that either.
I've never taken a script to the stage or to principal photography and said, "This is perfect. This is as good as it can possibly be." It's not Shakespeare, you know; you know it can probably be better.
One of my oldest friends from Kansas, his sister was married to Ben [Folds] and wrote lyrics on his first couple of albums. I got to meet him the first time I saw them in concert at The Bottleneck, a great bar in Lawrence, Kansas. Then, he was the musical guest my first or second week as a writer on SNL. I was like, "I don't know if you remember me?" And he was like, "Oh my god, yeah!" He's a big photography fan, as am I.
Now Ben Folds is my photography older brother. He was kind enough to give me a photo of his for my 40th birthday.
I had no real photography experience, thankfully. I consciously took a lot of crowd shots. I was influenced by Seattle photographer Charles Peterson, who always seemed to incorporate fans in his live band shots.
I got really excited about finding new ways of using video, and the immediacy is different, in a way, than painting and photography. The creativity comes with the editing. You can layer and cut and paste. I really love that it's like another form of making my smaller collages but in video form.
Photography and movies are a much bigger influence on me than music is itself.
I like to think that the music is a mixture of personal experiences mixed with photography and movies.
People thought this was a computer IT gig, and that will flow through those nerdy departments and it won't come into fashion photography, it won't come into television, it won't come into my daily communications, it won't come into my telephone, my microphone, my light control, my microwave radio, my - I mean, just name it.
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