A Quote by Luis Gonzalez
I am a postmodern romantic. I try to use their way to photograph, and at the same time, incorporate the problems that I feel in a country like Guatemala.
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I know what I like to use myself. I use Leicas, but when I look at the photograph, I don't ask the photograph questions. Mine or anybody else's. The only time I've ever dealt with that kind of thing is when I'm teaching.
The older I get, the one thing I can trust in myself more than anything else is the way I feel about something. When I photograph I try to be as aware of my feelings as I can be to somehow try and get them out of me and onto the film in terms of the way I am responding or seeing the world.
I am just postmodern enough not to trust 'postmodern' as a description of our times, for it privileges the practices and intellectual formations of modernity. Calling this a postmodern age reproduces the modernist assumption that history must be policed by periods.
It's been part of my signature to incorporate my humor with my dance, or even just how I'm feeling. If I'm feeling humorous, which I am, most of the day, I tend to incorporate that. If I'm dancing freestyle, if I feel like I've gotten too serious, while I'm moving, I'll think, "All right, it's time to lighten up a little bit," and I do. It just feels good.
People love to be listened to and represented, and they love it when they feel like you have some of the same problems that they do. Everybody deals with things like romantic difficulties in relationships and death and cancer and abuse.
[When] I am taking a photograph, I am conscious that I am constructing images rather than taking snapshots. Since I do not take rapid photographs it is in this respect like a painting which takes a long time where you are very aware of what you are doing in the process. Exposure is only the final act of making the image as a photograph.
Jazz is an endless source of ideas, because you can use anything. You can play operatic arias. You can incorporate them into jazz. You can play gypsy music and incorporate it into jazz. You can European classical and you can incorporate it into jazz. You can use anything and jazz it up, as they used to say.
There are no words for how much I will miss her, but I try to kiss her so that she'll know. I try to kiss her to tell her the whole story of my love, the way I dreamed of her when she was dead, the way that every other girl seemed like a mirror that showed me her face. The way my skin ached for her. The way that kissing her made me feel like I was drowning and like I was being saved all at the same time. I hope she can taste all that, bittersweet, on my tongue.
I don't like real places, but I don't like imagined ones either. I feel like I'm looking for some mixture and it's very hard for me to say because I like to use real place names because there's an uncanny feeling to them, but at the same time I don't ever really try to make them plausible. Sometimes I like to use them as a way to hide in plain sight a little bit, because to me a very exotic or imagined setting has a lot of weight and a lot of burden to it, and it doesn't suit me, but a real place seems to have its own weird legacy, so I don't know what the choice is?
You must know the big ideas in the big disciplines, and use them routinely - all of them, not just a few. Most people are trained in one model - economics, for example - and try to solve all problems in one way. You know the old saying: to the man with a hammer, the world looks like a nail. This is a dumb way of handling problems.
It's very hard to try to be a cultural . . . people who organize cultural things . . . it's very complicated. And more so in a country like Guatemala.
I try to express in my films things that no other art can approach. In my monster films for example, I use special effects in the same way one would use a special film stock, a special camera, and so on. Monster films permit me to use all of these elements at the same time. They are the most visual kind of film.
In some ways, I feel like the strength of animation is in its simplicity and caricature, and in reduction. It's like an Al Hirschfeld caricature, where he'll use, like, three lines, and he'll capture the likeness of someone so strongly that it looks more like them than a photograph. I think animation has that same power of reduction.
When it comes to partnership, some humans can make their lives alone - it's possible. But creatively, it's more like painting: you can't just use the same colours in every painting. It's just not an option. You can't take the same photograph every time and live with art forms with no differences.
I try and intellectualize a lot, which she does as well obviously. She's very determined, I am as well. I like to think that I am very loyal in the same way that she is. Bit of a feminist in the same way that she is. I will speak my mind in the same way that she does.
But I was, and still am, an avid reader and so when I first started I chose to photograph many of the great writers in this country to try and earn a living.
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