A Quote by Jay Maisel
We have always wanted to find the 'it-ness' of anything we shoot. We want to get as deep into the subject as we can.
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Without rules you can't have anything, but you don't want to just be pedantic or obsessive. The painting is finished when it's working. The overall balance is right. Balance shouldn't be confused with design. There has to be restless jostle and aggression and a bit of dynamism, not just pat-ness or settled-ness or immediate pleasing-ness.
I've always wanted to shoot a good percentage for my team, because I'm the point guard, and I can take fewer shots, still score more, so that I can get my teammates feeling good about themselves. That was always my feeling - that if I shoot a high percentage, I don't have to shoot a ton.
When I photograph someone, I want to shoot the subject and get them out of my studio so I can play with the photos and do all the stuff I want.
There is always this perception that you want to shoot for the top, but I think there's this great place to shoot for the middle and get consistent work and try different things and do the work you want to do with the kind of people you want to do it with.
When I made 'Eight Below,' they wanted me to shoot digital, and I didn't want to do it because that's just what I need, to get a great series of takes and then find out the camera was frozen.
That's the most difficult issue for me - to find a subject that holds my interest long enough that I'm prepared to go to work and spend the time and energy to shoot the subject.
That's the most difficult issue for me... to find a subject that holds my interest long enough that I'm prepared to go to work and spend the time and energy to shoot the subject.
We wanted to be successful, we wanted to shoot a video. We just wrote a song and we were like, 'OK, let's go onstage! Let's shoot a video for it!' That was always our dream... We just wanted to have fans and a crowd who would listen.
Some people wanted to get rich or famous, but my friends and I wanted to get real. We wanted to get deep. (Also, I suppose, we wanted to get laid.)
To do a portrait today, I decide how close I can get to my subject. First, of course, mentally or intellectually, then in the viewfinder. Music cues the subject and me when to shoot. The music played during a photography session is most important - stimulating to the subject and to me. As in a film, the music builds or becomes quiet, romantic; just one note sets the actor up to emote for his audience. I want a reciprocal portrait, not a bureaucratic one
We wanted to write songs that we really like that incorporate everything. It seems a lot of bands want to stick with one thing. We didn't want to be scared to do anything that we wanted to do. We didn't want anything to hold us back. We wanted no boundaries.
Designing wasn't something that I was always into, but I wasn't able to find clothes that I wanted to wear. I wanted to be able to walk into any store and have an idea of what I want and go and get it.
The great thing about not having a script is there's nothing you have to shoot that day. When you start filming, you can shoot anything you want. There's no pressure to shoot anything. Whatever interests you that day is what you're shooting. That's a big liberation that makes it more enjoyable and more relaxed. I think if you have that kind of framework it can make it a much more satisfying thing to work on and to watch as well.
When every guy on the team and the coaching staff is telling you, 'shoot it, shoot it,' obviously I've always known I could shoot it, but it was more of a trying to get the guys involved and being that middle man.
I was lucky to get the kinds of parts I wanted. I always said I didn't want to do anything my kids can't see.
I think I'm changing the game. In that sense, I'm what Steph Curry is to basketball. Don't get me wrong: I don't necessarily think Steph Curry is the best basketball player, but he changed the game, so he's going to always go down as being remembered. Now everyone wants to shoot the 3 and shoot it from deep.
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