A Quote by Helmut Gernsheim
I think only a superb news or reportage picture could move me. Other photographs may leave a strong impression on me, but they don't move me.
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Jesse Helms wants me to move to the right, Lowell Weiker wants me to move to the left, and Teddy Kennedy wants me to move back to California.
You see, it took me so long, it was such a struggle, to move myself out of musicals - because I had had a success, nobody wanted to allow me to direct a non-musical picture. It was so hard. And the only way I could get it going was to become a producer myself.
The only characters I ever don't like are ones that leave no impression on me. And I don't write characters that leave no impression on me.
What’s the impulse behind art? It’s saying in whatever language is the language of your work, “If I could move you as much as it moved me … if I can move anyone a tenth as much as that moved me, if I can spark the same sense of mystery and awe and surprise as that sparked in me, well that’s why I do what I do.”
It took me forever to leave Chicago. I went to Columbia College because I wasn't ready to leave! My professors had to kick me in the pants to move to Los Angeles.
I think the main objective is to move people, make people think in their heart. I personally am not interested in appealing to other musicians. To me, it's more inspiring to move someone who doesn't know anything about music but has a feel.
When I get dressed, I don't think about what other people think. I only think, 'Is this me? Is this my truth? Am I able to move through this world with confidence? Am I able to move through this world feeling that I am I?'
And were my faith so strong that it could move mountains, that is the mountain that I would make come to me.
Inspiration is the most valuable commodity for an artist; it is for me anyway. I can't move forward in any way if I don't feel a strong spark of excitement or creativity. Sometimes it is very difficult to get things flowing. It's important to be in a peaceful state of mind, and then I invite the spirits to come into the studio. I don't stare into a blank canvas or paper. I look through my various collections of books, toys, statues, photographs and other things, and something will trigger an idea. My studio is packed full of things that inspire me.
And I don't believe that I have to stay on one side of the fence or the other. I don't believe that there is any good career move or bad career move. I believe there are only the things that make me happy.
Ten years ago, when I was on an airplane and I introduced myself to my seatmate, and told them [I was a psychologist], they'd move away from me. ... And now when I tell people what I do, they move toward me.
Oh, the transition concerns me because as we move towards an important political event, it's clear to me that the terrorists and insurgents will move as hard as they can to disrupt this process.
It is possible in theory and I think true in practice that centralization could have been the optimal solution at the beginning of the computer era and now, but not in between. And it may change back again with some other technological development. Some things move in a straight line. Others move like a pendulum.
I think in the case of my father, in terms of the things that influenced me, he never pressed me to go into academics or pressed me to go to a field, and indeed, my behavior was largely to move as far the other direction. I don't think that's uncommon with people with very successful parents.
I'd like the photographs to potentially be meaningful to a wide range of people. They do not grow out of the reportage mode, this was always clear to me. Personal imaginations blend into each other and create our visual cultures. No one is a neutral observer of this field.
I can't be worrying about what other people think of me. I am my own person, and I have made it this far on my own. This is me - take me or leave me. I don't owe explanations to the rest of the world, only to my family.
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