A Quote by Gregory Crewdson

I’m interested in using the iconography of nature and the American landscape as surrogates or metaphors for psychological anxiety, fear or desire — © Gregory Crewdson
I’m interested in using the iconography of nature and the American landscape as surrogates or metaphors for psychological anxiety, fear or desire
The technological landscape of the present day has enfranchised its own electorates - the inhabitants of the marketing zones in the consumer society, television audiences and news magazine readerships, who vote with money at the cash counter rather than with ballot paper at the polling boot. These huge and passive electorates are wide open to any opportunist using the psychological weaponry of fear and anxiety, elements that are carefully blanched out of the world of domestic products and consumer software.
Anxiety and desire are two, often conflicting, orientations to the unknown. Both are tilted toward the future. Desire implies a willingness, or a need, to engage this unknown, while anxiety suggests a fear of it. Desire takes one out of oneself, into the possibility or relationship, but it also takes one deeper into oneself. Anxiety turns one back on oneself, but only onto the self that is already known.
The psychological condition of fear is divorced from any concrete and true immediate danger. It comes in many forms: unease, worry, anxiety, nervousness, tension, dread, phobia, and so on. This kind of psychological fear is always of something that might happen, not of something that is happening now.
Right now women are using surrogates because they can't be pregnant. What worries me is the possibility that soon they'll use surrogates because they don't want to be pregnant.
What I fear and desire most in this world is passion. I fear it because it promises to be spontaneous, out of my control, unnamed, beyond my reasonable self. I desire it because passion has color, like the landscape before me. It is not pale. It is not neutral. It reveals the backside of the heart.
What is required is the finding of that Immovable Point within one's self, which is not shaken by any of those tempests which the Buddhists call 'the eight karmic winds': 1-fear of pain, 2-desire for pleasure; 3-fear of loss; 4-desire for gain; 5-fear of blame, 6-desire for praise; 7-fear of disgrace; [and] 8-desire for fame.
Anxiety is practising failure in advance. Anxiety is needless and imaginary. It's fear about fear, fear that means nothing.
I actually thought that the idea of doing a World War II movie in the guise of a spaghetti western would just be an interesting way to tackle it. Just even the way that the spaghetti westerns tackled the history of the Old West, I thought it could be a neat thing to do that with World War II, but just as opposed to using cowboy iconography, using World War II iconography as kind of the jumping-off point.
But I quite like the way you can talk about science without necessarily using mathematics, but using metaphors instead.
Anxiety and fear are cousins but not twins. Fear sees a threat. Anxiety imagines one.
I'm interested in the psychological exploration of human nature, and it just happens to come in the form of film-making.
There are doubtless all kinds of ways of explaining why people want security, but I do not think we can start with the psychological explanations. Even psychological states like fear or desire for safety are conditioned by social and political forms of intimidation and scare-mongering that intensify those emotions, and even work to persuade people that nothing less than their survival is at stake.
Music feels so environmental to me, especially the process of working with synths or mixing. I started thinking about music as a psychological landscape as well. It's a landscape of the mind.
The biggest problem is that people have stopped being critical about the role of the computer in their lives. These machines went from being feared as Big Brother surrogates to being thought of as metaphors for liberty and individual freedom.
I've always been interested, - if you look back at my work from the beginning, really - I've always been interested in the idea of the artificial landscape. Reforming the landscape. Architecture being a method of reforming the earth's surface. We reshape the earth's surface, from architecture to paving streets, to parking lots and buildings that are really reforming the surface of the earth. Reforming nature, taking over what we find. And we're mushing it around and remaking a new earth - or, what we used to call Terra Nova.
I was trying to do like a spaghetti western but using World War II iconography.
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