It is one of the maxims of the civil law, that definitions are hazardous.
What's important to me is that there's a necessary alienation between me and the subject. I don't want to know them well. I don't want to have any intimate contact with them.
I don't deliberately look for something dark or bleak or disconnected, in fact that's not something I'm even conscious of in the work as I'm making it. I'm always trying to create beauty, reveal hope, show the sense of longing that exists in isolation and loneliness, and capture the search for something greater inside all of my subjects.
My pictures must first be beautiful, but that beauty is not enough. I strive to convey an underlying edge of anxiety, of isolation, of fear.
My pictures are about everyday life combined with theatrical effect. I want them to feel outside of time, to take something routine and make it irrational. I’m always looking for a small moment that is a revelation
My pictures are about a search for a moment—a perfect moment. To me the most powerful moment in the whole process is when everything comes together and there is that perfect, beautiful, still moment. And for that instant, my life makes sense.
Every artist has a central story to tell, and the difficulty, the impossible task, is trying to present that story in pictures
In general, I have some precise ideas about everything, because the film is completed in my head before we ever start shooting. With casting, I am always present, even for the smallest character.
No, I always felt that amongst my core fans- because there was a level of popularity that I had in the mid '80s that was sort of a bump on the scale- they fundamentally understood the values that are at work in my work.
Every man, for the sake of the great blessed Mother in Heaven, and for the love of his own little mother on earth, should handle all womankind gently, and hold them in all Honor.
The redbreast whistles from a garden-croft; and gathering swallows twitter in the skies.