A Quote by Arnold Newman
Influences come from everywhere but when you are actually shooting you work primarily by instinct. But what is instinct? It is a lifetime accumulation of influence: experience, knowledge, seeing and hearing. There is little time for reflection in taking a photograph. All your experiences come to a peak and you work on two levels: conscious and unconscious.
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I come unprepared to shooting. I don't have lights, I don't have assistants, I just go and meet somebody and take a photograph. That's really basic, and that's how I used to work when I was 17 or 18 in Holland. I was given very little time to photograph people and I was very scared.
Don't you dare underestimate the power of your own instinct. Instinct is a lifesaver for sharks and entrepreneurs alike. Most people can recall times they ignored their gut only to regret it later. Learning to actually listen to your instinct is a great form of self-preservation. It's both incredibly easy and tough at the same time, but worth the effort to master.
Yoga says instinct is a trace of an old experience that has been repeated many times and the impressions have sunk down to the bottom of the mental lake. Although they go down, they aren’t completely erased. Don’t think you ever forget anything. All experiences are stored in the chittam; and, when the proper atmosphere is created, they come to the surface again. When we do something several times it forms a habit. Continue with that habit for a long time, and it becomes your character. Continue with that character and eventually, perhaps in another life, it comes up as instinct.
Very little of the great cruelty shown by men can really be attributed to cruel instinct. Most of it comes from thoughtlessness or inherited habit. The roots of cruelty, therefore, are not so much strong as widespread. But the time must come when inhumanity protected by custom and thoughtlessness will succumb before humanity championed by thought. Let us work that this time may come.
Trust your instinct. And if you can't tell what your instinct is telling you, learn how to peel back the noise in your life that is keeping you from hearing it.
To me, if there is any sort of value added to the accumulation of knowledge over time, then the work of artists should be a reflection of that accumulated value, accumulated knowledge. You have to demonstrate that you have the sophistication to put that into play in the work you're making.
The best option that you can have as an actor is pure instinct and you should be able to protect your instinct. Information can either cloud your instinct or aid it.
I've come to realise I work so much better when I'm going by instinct.
...I believe there exists, & I feel within me, an instinct for the truth, or knowledge or discovery, of something of the same nature as the instinct of virtue, & that our having such an instinct is reason enough for scientific researches without any practical results ever ensuing from them.
Big ideas come from the unconscious. This is true in art, in science, and in advertising. But your unconscious has to be well informed, or your idea will be irrelevant. Stuff your conscious mind with information, then unhook your rational thought process. You can help this process by going for a long walk, or taking a hot bath, or drinking half a pint of claret. Suddenly, if the telephone line from your unconscious is open, a big idea wells up within you.
Cinematography is so much about instinct and intuition - you want the same range of experience going into behind the camera as what you see in front of it. Your life experience will come through the lens.
In each verse, a decision awaits us, and we can't choose to close our eyes and let instinct work on its own. Poetic instinct consists of an alert tension.
Concentration is inspiration. You must be completely overtaken by your work and your subject. Only then do all your influences and experience come up to the surface.
If it's a likeness, alone, it's not a success. If, through my portraits, you can come to know the subjects more meaningfully, if it synthesizes your feelings toward someone whose work has imprinted itself on your mind--if you see a photograph and say, 'Yes, this is the person,' with a little new insight--that is a beautiful experience.
I would say that among my many huge emotional miscalculations was my taking a film career for granted. It is the most awesome privilege to be able to use one's imagination and wit, physicality and musicality, conscious brain and unconscious instinct in the service of a work that has a chance to move and excite and amuse and delight people all over the world, including long after we're dead. What a noble calling! And I felt it was just there for me as a kind of given, some sort of inherited birthright-when in reality it's the most magnificent luxury.
This transmissibility of taboo is a reflection of the tendency, on which we have already remarked, for the unconscious instinct in the neurosis to shift constantly along associative paths on to new objects.
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