A Quote by Anton Corbijn
I don't think I treat my film work as an extension of my photography. There are two different sets of rules there.
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I love being on film sets even if I'm not acting in the film, and I'm fascinated by the work of the director of photography.
I was drawn to photography as an extension of film, and the beauty of film is that it's a sensuous, fetishistic medium.
When I was in Baltimore, I played in several different bands, doing four sets a night, two sets of originals, two sets of covers, that kind of thing.
I don't know that there were any rules for documentary photography. As a matter of fact, I don't think the term was even very precise. So as far as I'm concerned, the kind of photography I did in the FSA was the kind of photography I still do today, because it is based on passionate concern for the human condition. That is the basis of all the work that I do.
I like to think of Photography 1.0 as the invention of photography. Photography 2.0 is digital technology and the move from film and paper to everything on a chip. Photography 3.0 is the use of the camera, space, and color and to capture an object in the third dimension.
We have two programs dealing with bulletproof vests, two different systems of actually distributing bulletproof vests from the federal government. Two sets of applications, two different sets of personnel to approve those applications.
I don't think that golf has a place for two sets of rules. I think one of the reasons that the game has progressed in the way that it has over the years is the fact that the amateurs and the pros all play the same game, and they play under the same set of rules.
Film sets are a strange place, but an exciting place. I do love my work; I really enjoy going to work. But if you just spend all your time on film sets or even on stage, you can become a Michael Jackson figure, living in your own little universe.
The circadian neurons are one of the few circuits in neurobiology where we have a chance to understand at multiple levels how different sets of neurons communicate with each other - including understanding the wiring rules, the biochemical rules, and the functional behavioral rules.
Film writing and concert writing are two very different things. In film writing I am serving the film and it tells you what to write. I have to stay within the parameters of the film. In writing concert music for the stage I can write anything I want and in this day and modern age rules can be broken.
I think when you look at architectural photography it doesn't help to have piles of old clothes lying on the floor. Architectural photography sets up an artifice.
Any genre as it's called, I think can be quite reductive in terms of what a film is, because I think there is an eagerness to put in any film, in anybody's work, to give it a genre title and I think as a consequence of that, the film starts to obey the rules of the genre.
We have - through a hundred years of photography and two decades of film - been enormously enriched... We may say we see the world with entirely different eyes.
At the end of the day, it's all one version of telling a story. I treated this as if it was a two million dollar independent film. I did a lot more physical work than I'd probably have to do for a two million dollar independent film with four months of training and stuff. But as far as the character's psychology or emotional life goes, I treat it just the same.
I was particularly drawn to Berlin because of its literal, concrete division. Two halves making a whole, or two entities that were altered doubles of each other? Twins that had been separated and kept in neighbouring houses and raised according to different sets of rules as a social experiment? It was irresistible as a metaphor for division in the mind, for a split personality.
We're creating a different universe with different rules and a different tone and different villains. We were very careful to honor the iconography of Spider-Man, but we wanted to tell it in a new and different way [in the film].
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