A Quote by Anton Corbijn

I don’t crop my images and I always shoot handheld. By doing that I build in a kind of imperfection and this helps to emphasize reality. — © Anton Corbijn
I don’t crop my images and I always shoot handheld. By doing that I build in a kind of imperfection and this helps to emphasize reality.
We know only what we do, what we make, what we construct; and all that we make, all that we construct, are realities. I call them images, not in Plato's sense (namely that they are only reflections of reality), but I hold that these images are the reality itself and that there is no reality beyond this reality except when in our creative process we change the images: then we have created new realities.
My images are not images of reality, but show a kind of second reality, the image of the image.
I want to say something in a tough-love kind of way about crop insurance. Let's face it: You don't buy insurance on your house hoping it will burn down. Neither do we want to buy crop insurance and hope our crop fails so we can file.
Local images have one kind of reality. 'U.S. 1' will, I hope, have that kind and another, too. Poetry can extend the document.
Photographs are still always depictions, it's just that for my generation the model for the photograph is probably not reality any more, but images we have of that reality.
Do we want to emphasize our ethnic and religious differences, and exploit them to buy votes, as the Liberals are doing? Or emphasize what unites us and the values that can guarantee social cohesion?
I'd like to emphasize that when a reader finishes a great novel, he will immediately begin looking for another. If someone loves your book, it increases the chance that he or she will look at mine. So there is no competition between writers. Another writer's success helps build a larger readership for all of us.
To accomplish the perfect perfection, a little imperfection helps.
Computer images, like camera images today, will be seen as representations of a simulated, second-degree reality with little or no connection to the unmediated world. This is one lesson we can learn from photographs, and especially from those of the last 25 years: images exist not to be believed, but to be interrogated.
For us as writers, it's really important to have songs we believe in - even before sometimes we shoot a scene. If we have a song that's so perfectly designed for a scene on 'Rescue Me,' we'll play it on loud speakers during the shooting. It helps the cameraman and it helps the director, and it helps the actors know what the feel is.
I was always obsessed with finding truly researched images to add authenticity, out of that came something totally contemporary and modern. Research is very key to my process because over and over again, reality provides more interesting images than you could have invented.
The park achieved a kind of reality. Like these virtual reality games the children are playing with. I told them we were doing this 40 years ago! Disneyland is virtual reality.
I don't think I've ever been true to jazz. There's always a kind of jazz element to what I do. There are a very few genres that I haven't tried out, really, in what I've been doing. As a jazz musician, you can kind of mess about with things with a certain level of musicianship, which helps.
When you move handheld, and the director of photography has the courage to shoot with no lights, the set becomes a space of creativity and freedom where actors can move wherever they want to move.
Images can make realities out of people and struggles - the reality we give them. Images really matter.
I've always painted or drawn pictures or taken still photographs; now I shoot movies. It's just about making images, really.
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