A Quote by Garry Winogrand
You've got to deal with how photographs look, what's there, not how they're made.
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In a world where the 2 billionth photograph has been uploaded to Flickr, which looks like an Eggleston picture! How do you deal with making photographs with the tens of thousands of photographs being uploaded to Facebook every second, how do you manage that? How do you contribute to that? What's the point?
I find it satisfying that what I've done in photography has had so much influence in how people take photographs and what they look at and how they look at things.
In my book Radical Reform I made it clear that we cannot talk about the environment or ecology if we don't also deal with the economy. There is a direct link between how we deal with the economy and how we deal with nature.
How do we address network neutrality when the whole world is connected? How do we ensure governments don't purloin this for political purposes? It's already happening. Look at Russia on the American election. How do we protect data security when everyone's connected? Look what happened with the ransomware. How do we deal with cybercrime and cyberterrorism and the disruptions of the system? And we're seeing this every week now.
It's the ultimate for me not to see how it's made. I find it vulgar when you can distinguish how something is made. I used to be a student at the Chambre Syndicale de la Haute Couture in Paris, and once I got to go to a Saint Laurent couture show. Everyone was always talking about how fabulous the tailoring was, but I was transfixed by this one particular dress. It was just a piece of fabric, but as the model was walking, you didn't know how she got into it, how it closed, where the seams were, and that, for me, was perfection. It stayed with me as a lifelong vision.
We must look to Mary's example to know how to deal with the glorious impossibilities of God. Look how she turned the world upside down by making one simple statement.
Thirty was a big deal for me. It was the age where I reevaluated everything - how I approached life and how I thought about myself. When I look at my 20s, or when I look at any period in my life, I think about how much time I've wasted trying to find the right man.
I have always loved Reese Witherspoon and Amy Adams as role models - I read all their interviews and agree with the fundamentals of how they manage the limelight and also how they look and carry themselves. A huge part of beauty is how you carry yourself and how you deal with certain situations.
Various things have to happen in Baltimore that are not just related to police reform. How police deal with the public is one variant, but we also have to deal with how we treat each other. We need to look at taking more responsibility for ourselves.
It changes how people read you if you believe in God. It gives insight into your motivation, how you look at problems and how you deal with people.
Sitting for a picture is morbid business. A portrait doesn't begin to mean anything until the subject is dead. This is the whole point. We're doing this to create a kind of sentimental past for people in decades to come. It's their past, their history we're inventing here. And it's not how I look now that matters. It's how I'll look in twenty-five years as clothing and faces change, as photographs change. The deeper I pass into death, the more powerful my picture becomes. Isn't this why picture-taking is so ceremonial? It's like a wake. And I'm the actor made up for the laying-out.
I wanted to learn how the business worked. I wanted to see how people got drafted, how players got traded, how they got picked up in free agency, how the salary cap worked, how do you manage an organization, how do you negotiate contracts. The Bulls gave me an excellent opportunity to answer all the questions that I wanted to ask.
The difference between how you look and how you see yourself is enough to kill most people. And maybe the reason vampires don’t die is because they can never see themselves in photographs or mirrors.
I did a business in a box called College Pro Painters. They taught you how to paint houses, how to hire and fire, how to sell, how to deal with customers. You got a one-year franchise. It was the hardest year of my life in terms of hard work. I won manager of the year. It was very successful.
When I look at photographs, I couldn't care less "how."
You look at the world and see how scary it can be sometimes and still try to deal with the fear. Comedy can deal with the fear and still not paralyze you or tell you that it's going away. You say, OK, you got certain choices here, you can laugh at them and then once you've laughed at them and you have expunged the demon, now you can deal with them. That's what I do when I do my act.
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