A Quote by Garry Winogrand
I'm a good craftsman and I can have this particular intention: let's say, I want a photograph that's going to push a certain button in an audience, to make them laugh or love, feel warm or hate or what - I know how to do this.
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The best way to make friends with an audience is to make them laugh. You don't get people to laugh unless they surrender - surrender their defenses, their hostilities. And once you make an audience laugh, they're with you. And they listen to you if you've got something to say. I have a theory that if you can make them laugh, they're your friends.
My audience expects me to push the limits, to be politically incorrect. I do that because for me, that's the only place where the fun is, when I get to push the boundaries and make people laugh at things that they probably didn't want to laugh at.
If you want to make an audience laugh, you dress a man up like an old lady and push her down the stairs. If you want to make comedy writers laugh, you push an actual old lady down the stairs.
My main goal as an actor, with my craft or whatever poncy way you want to say it, is to always take the audience with me. To make them feel for me, or to make them hate me, I want a reaction. I want their emotions. The worst reaction someone can have is, "eh."
I really think there's a difference between how men critics see things than how women tend to. And I don't want to make that - it's not a generality and I don't want to say that, but I just feel - I know I do the same thing. There are certain things that I just am not that interested in. Certain kinds of films - I just don't enter them.
I watch films, so I know what it is to be there in a theatre as the audience. So I always want to communicate with them when I make films, but that is not the only thing. I also want to say something which I feel deeply, and which I feel I can connect with the rest of the audience.
When you photograph someone, you have to make them feel good, and you know that they want to look good. It's the same relationship that you have when you apply makeup on somebody. We're almost like shrinks.
The hallmark of a good comedy is that it can make you laugh, but it can also take you to the point where you're in love with these characters, and you want to see them be happy, and you want to feel that emotion for them.
I have no intention of flattering people. I like wrinkles and crow's feet and flaws, and somebody should know, if I'm going to photograph them, that's going to show up, you know?
One of the things my career as an artist might say to young artists is: The things that are close to you are the things you can photograph the best. And unless you photograph what you love, you are not going to make good art.
People think they want to know how magic works, but really they don't. How it works is never as amazing as what the trick was in the first place, so it's never going to make you feel good. Somebody just wanting to know how a trick works is never enough to make me want to tell them.
When you make a film, you're creating the illusion of a natural experience. But everything is created on purpose. If I want you to be scared, I'm trying to scare you. If I want you to cry, I'm trying to make you sad. If I want you to laugh, I'm trying make you laugh. So, how I get you there is what makes it interesting, because I also want it to feel seamless, and not forced. That kind of constant experimentation is just fun to explore, and I love it.
Music is very powerful and can make you feel whatever it is. If you listen to gospel, you're going to feel thankful, and you're going to want to call up people that you hate and tell them that you love them. When you listen to sexual music, it gets you in the mood.
It's a long story. Want a refill?" "No, let's start the steak. Where's the button?" "Right here." "Well, push it." "Me? You offered to cook." "Ben Caxton, I will lie here and starve before I will get up to push a button six inches from your finger" "As you wish." He pressed the button. "But don't forget who cooked dinner.
It's very difficult to know exactly what a major audience is going to respond to. 'We know they respond to certain personalities. That has been proven by the success of certain people in television who have gone from show to show and carried an audience with them. Apart from that, it's very hard to say what formula works.
I think sometimes it's hard to know what you feel, or to know what's real and what's not, because love or hate or any feeling is a belief. You can say you hate someone, but you don't truly know them.
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