A Quote by Gregory Crewdson

All my pictures are very voyeuristic, but ultimately I'm looking at what lurks in my own interior. I make photographs because I want to answer the question of what propels me to do the things that I do. But that always remains a mystery.
We can each sit and wait to die, from the very day of our births. Those of us who do not do so, choose to ask - and to answer - the two questions that define every conscious creature: What do I want? and What will I do to get it? Which are, finally, only one question: What is my will? Caine teaches us that the answer is always found within our own experience; our lives provide the structure of the question, and a properly phrased question contains its own answer.
"Where do you get your ideas?" That's the one question I'm genuinely sick of being asked, and also genuinely fascinated by. What fascinates me is not that people ask the question, but what kind of answer are they really looking for? Because if I tell them the truth, which is "I make them up," they seem very disappointed. They want to know about the trek I do once a year to the mountain.
The answer is never the answer. What's really interesting is the mystery. If you seek the mystery instead of the answer, you'll always be seeking. I've never seen anybody really find the answer, but they think they have. So they stop thinking. But the job is to seek mystery, evoke mystery, plant a garden in which strange plants grow and mysteries bloom. The need for mystery is greater than the need for an answer.
In L.A., we have a saying - 'What do you do?' It's less of a question and more of a self-defense mechanism for wayward screenwriters looking to slip you a first draft, or the occasional actor looking to get in on the latest shoot. But I hate the question because of my own answer - I write about games.
Why extremists always focus on women remains a mystery to me. But they all seem to. It doesn’t matter what country they’re in or what religion they claim. They all want to control women. They want to control how we dress. They want to control how we act. They even want to control the decisions we make about our own health and our own bodies. Yes, it is hard to believe but even here at home we have to stand up for women’s rights and we have to reject efforts to marginalize any one of us, because America has to set an example for the entire world.
I am not much interested in discovering new territories to photograph. Instead, what I wish my pictures could do is lessen the distance one often feels when looking at landscape photographs... The longer I work, the more important it is to me to make photographs that tell my story as a participant, and not just an observer of the land.
A dialogue is very important. It is a form of communication in which question and answer continue till a question is left without an answer. Thus the question is suspended between the two persons involved in this answer and question. It is like a bud with untouched blossoms . . . If the question is left totally untouched by thought, it then has its own answer because the questioner and answerer, as persons, have disappeared. This is a form of dialogue in which investigation reaches a certain point of intensity and depth, which then has a quality that thought can never reach.
A question that I can't answer is: what do you want to do next? What's your dream role? What are you really looking to do? Where do you see yourself? It doesn't make any sense because that's such an outsider's perspective.
For all the talk of my pictures being narratives or that they're about storytelling, there's really very little actually happening in the pictures. One of the few things I always tell people in my pictures is that I want less - give me something less.
Part of the role of photography is to exaggerate. Most of the photographs in your paper, unless they are hard news, are lies. Fashion pictures show people looking glamorous. Travel pictures show a place looking at its best, nothing to do with the reality... Most of the pictures we consume are propaganda.
I want to make photographs whose very ambiguity provokes thought, rather than cuts it off prematurely. I want to make pictures that work on a more mysterious level, that approach the truth by a more circuitous route.
I keep trying to find ways to shift the viewer's attention away from the object they are looking at and toward their own perceptual process in relation to that object. The question for me always is: how can I make you aware of your own activity of looking, instead of losing your attention to thoughts about what it is that you are looking at?
If you have a little inteligence, sooner or later the question is bound to arise: What is the point of it all? Why? It is impossible to avoid the question for long. And if you are very intelligent, it is always there, persistently there, hammering on your heart for the answer: Give me the answer! - Why?
My interior is very, very dense - Proustian-looking, sort of Henry James. The walls are covered in pictures, and I transformed the big drawing room into a library lined with books.
Because even very young people are expert readers of pictures, you can convey very complex and subtle messages through pictures that you'd need loads of words to explain. Making a picture book is also a bit like making your own film - and you can make anything you want happen, however impossible!
If there is any jarring at all in my photographs, it's because we are so used to ingesting pictures of everywhere looking beautiful.
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