A Quote by Francesco Carrozzini
To me, the main and most exciting thing about photography is to meet people. The picture is the result of what happened between me and them on the set.
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In the case of 'Game Of Thrones,' I've been to set a couple of times, and it's really exciting and inspiring for me to see the set and the actors in action, meet them and talk to them, so it definitely helps. If I can go to set, I will.
I enjoy photography. It's a lot of fun. It keeps me on my P's and Q's and, when you think about it, most people think photography is just going to a game. But you start to think, dang, that would be a good picture. Or you're driving along and see something and think, 'that would be nice.'
Jail was probably the most exciting thing that's ever happened to me.
...Being a father is the most exciting, amazing thing that ever happened to me.
You know, my main reaction to this money thing is that it's humorous, all the attention to it, because it's hardly the most insightful or valuable thing that's happened to me.
I like working, I'm not into relaxing. Work motivates me, and even when I do take a holiday, I meet friends, talk about projects and set up meetings, set meetings between other people, or get involved.
The thing that was most interesting to me was getting my first prints back from the printer and realizing photography doesn't end with the click of a button, it starts there. Printing is so exciting.
I meet young artists and it becomes clear that with some the main motivation is getting a show in Chelsea. It strikes me that this is very different to the way it was for me, which was that I wanted to understand photography and the world and myself.
What I don't like so much is to give explanations about people's behaviour... I'm not interested in making conclusions. I would never think about myself or anyone else, 'Well, this happened, this happened, this happened, so this must be the result.' It doesn't work like that with me.
The single most exciting thing that happened for me was getting to spend some time in the studio with both Marty Stuart and Vince Gill.
For me photography was the means to the end, but they made it the most important thing. (On the discovery of X-ray photography.)
For me, going back to itinerant landscape painting, it's not about returning to an older method, but about building on what happened in the 20th century in photography. And also highlighting what the differences are between a painting and a photograph in picturing space.
The most embarrassing thing that ever happened to me was when I was wearing a hair extension and it fell out on set.
I write the script; nobody sees it, not the people that put the money in the picture. I cast who I want, and make the film. That's why I've always felt the only thing standing between me and greatness, is me. There's no excuse for me not to be great except that I'm not.
If you want me to explain the picture, if you put it in reality, then the mystery goes away. The situation just catches you and you think it is absurd or mysterious and you just take the picture. You dont want to see the bare reality of what happened. I took the picture as the picture, not as the realistic story of what happened.
It's possible to think of photography as an act of editing, a matter of where you put your rectangle pull it out or take it away. Sometimes people ask me about films, cameras and development times in order to find out how to do landscape photography. The first thing I do in landscape photography is go out there and talk to the land - form a relationship, ask permission, it's not about going out there like some paparazzi with a Leica and snapping a few pictures, before running off to print them.
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