A Quote by Anton Corbijn
I wanted to move away from Holland for my work because I felt that things would be better for me in England. But when I heard Joy Division's 'Unknown Pleasures', that pushed me towards making the move and making it real. I met them within 12 days of moving to England.
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I was always told that the Premier League would suit my playing style, and England has always attracted me. Ever since I was a child, I always wanted to come here so much so that I learned the language, so I was preparing myself in some way for a future move to England.
I'm a country girl, raised in Gloucestershire, England. But my family encouraged me to travel, and I wanted to experience the world. Maybe that's not traditional, but my values have stayed strong. Perhaps that's where wanting to have children comes into it: I'll always be making work; I guess when - and if - I have children, I'll have them with me.
The situation in America is when it starts moving there, all the bands from England move over to America and work from there, so that they're available all the time for everyone that wants them in person.
If I had to, I would ask first of all: why do things move in your work? It's the most simple, and also the most complicated, question. And I answer: things move because if they didn't move, they might move?.
If I am practicing on the wire, and you pushed me, I would not move, and if you take a piece of wood and beat me up on the shoulder and the head, I would not move. You would not put me out of balance. You would not be able to. I am solid as granite when I am on the tight rope, and I should be.
In 1979, I moved to England and photographed Joy Division and Bowie and Beefheart. At that time I got images that I felt had that special, well - power is a big word to say - more like intimacy and ambition that outlasted the photo shoot. I felt that they would have a longer life.
Sometimes I will draw people and they will move away too quickly for me to finish what I wanted, and it is not enough for me to consider it a drawing of them. I hope I have gotten better at capturing things quicker in a drawing.
When I first started working on movies as a production assistant, we were shooting 65, 75, 85 days. I mean, granted some of those things were "Godzilla," "Deep Impact," and those kinds of things, but these days it's like 30-35 days or 40-45 days and you just feel like you're humping trying to get everything done. It's like "Move on, move on, move on!" That's not the way to get the best performances or the most interesting shots. You have to constantly balance schedule and quality of work. For me, that's the biggest thing.
I kept bugging them about making it more upscale, because I felt Abby, through her cleverness and business sense, was a character who would move up. And that's what she did.
I am the first one in my family to go to college and I felt a great responsibility when I was at school, because my family was making so many sacrifices for me to be there. I was raised by a single mother, my grandmother got on the plane and helped me move to New York and moved me into the dorm. It was just a big moment, and, yes, it was my dream to be an actress, but also I didn't want to let them down.
Oh, the transition concerns me because as we move towards an important political event, it's clear to me that the terrorists and insurgents will move as hard as they can to disrupt this process.
Obviously the world is moving away from high carbon energy to low carbon energy, and eventually moving away toward renewable energy. So it is in the interest of Africa to move towards that, because that's where the world is moving.
But the humans weren't what made my steps falter as I walked through grass that had turned bright green with summer's touch. It was Dimitri. Always Dimitri. Dimitri, the man I loved. Dimitri, the Strigoi I wanted to save. Dimitri, the monster I'd most likely have to kill. The love we'd shared always burned within me, no matter how often I told myself to move on, no matter how much the world did think I'd move on. He was always with me, always on my mind, always making me question myself.
When my husband gives me this ultimatum, "You either stop singing, or you move out," then it became very clear that what I needed to do - not just because I wanted to sing, but because I didn't want to live with anybody who issued ultimatums to me like that - would be to move out.
When I first came into the England one-day side and joined the selectors, I wanted to move away from picking what some people called the bits-and-pieces to the best batsmen and bowlers.
I loved him in that moment, loved him more than I'd ever loved anyone, and I wanted to to tell them all that I was the snake in the grass, the monster in the lake. I wasn't worthy of this sacrifice; I was a liar, a cheat, a thief. And I would have told, except that a part of me was glad. Glad that this would all be over with soon. Baba would dismiss them, there would be some pain, but life would move on. I wanted that, to move on, to forget, to start with a clean slate. I wanted to be able to breathe again.
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