A Quote by Garry Winogrand
Frame in terms of what you want to have in the picture, not about making a nice picture, that anybody can do.
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When an artist paints a picture he does not want you to consider his personality as represented in that picture - he wants you to look at the beauty of that picture. No one cares who has painted the picture as long as it is beautiful.
I will be so glad to take the picture and pose and look good for the picture. But when you catch me while I'm looking real sideways and the picture's ugly as hell, I don't want you to have the picture like that!
It is, because you've got a nice picture, you want to put it up, and then you're like, 'Do I want this to go out in the press? Do I want them to run it and make a story surrounding that picture?' That's what I have to think of all the time.
I never know if my picture is a good picture or a bad picture, because I'm not making pictures thinking of the public, I'm making pictures to realize myself.
I want to thank everybody and anybody who ever had anything to do with the making of this picture.
If you want me to explain the picture, if you put it in reality, then the mystery goes away. The situation just catches you and you think it is absurd or mysterious and you just take the picture. You dont want to see the bare reality of what happened. I took the picture as the picture, not as the realistic story of what happened.
If anyone gets in my way when I'm making a picture, I become irrational. I'm never sure what I am going to do, or sometimes even aware of what I do-only that I want that picture.
It is easy to make a picture of someone and call it a portrait. The difficulty lies in making a picture that makes the viewer care about a stranger.
I want to make a picture that could stand on its own, regardless of what it was a picture of. I've never been a bit interested in the fact that this was a picture of a blues musician or a street corner or something.
Life is a million different dots making one gigantic picture. And maybe the big picture is nice, maybe it's amazing, but if you're standing with your face pressed up against a bunch of black dots, it's really hard to tell.
There's something special about working with picture and adding music to picture that really takes you to a whole new level. It's always the director's picture first, and I'm there to help tell the story.
The directing of a picture involves coming out of your individual loneliness and taking a controlling part in putting together a small world. A picture is made. You put a frame around it and move on. And one day you die. That is all there is to it.
I think about photographs as being full, or empty. You picture something in a frame and it's got lots of accounting going on in it-stones and buildings and trees and air - but that's not what fills up a frame. You fill up the frame with feelings, energy, discovery, and risk, and leave room enough for someone else to get in there.
The craft, the writing of a song, is about creating a story, a life story, a world within three minutes, but that's the frame, if you like, the picture frame. That fascinates me.
For me, when I picture the person I want to end up with, I don't think about what their career is, or what they look like. I picture the feeling I get when I'm with them.
I've never been difficult to anybody or with anybody on a picture. Especially when you're in that nice status of hierarchy of actors and actresses who get to approve directors. Because once you make that choice, it's my belief that the director's boss.
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