A Quote by Jock Sturges
That's my ambition: that you look at the pictures and realize what complex, fascinating, interesting people every single one of my subjects is.
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Our lives are complex; our emotions are complex; our intellectual desires are complex. I believe that architecture … needs to mirror that complexity in every single space that we have, in every intimacy that we possess.
The truth is that every single relationship is very complex and full of contradictions; as you get into a more mature relationship, you realize that the contrasts are part of the fabric of every substantive relationship.
The fascinating necessarily tends to call a certain attention to itself; the interesting need not. An evening spent with a fascinating person leaves vivid memories; one spent with interesting people has merely a sort of bouquet.
In this business, my business, I get to meet all kinds of incredible people, fascinating people, glamorous people and sexy people and highly intellectual people. And you meet them and you go 'interesting, interesting, interesting'. They're interesting, but not very many people stop you in your tracks.
How do people move on after they've lost the love of their life? It's a really interesting thing to look at. It happens to people every day: you see people... even in the worst, most war-torn places, people get up and continue with their lives. And it's a fascinating thing about human nature. That ability to just continue on.
We need saints; we need this head - this talking head - to communicate. Every single religion you have people that go in-between, that can talk to god or communicate ideas. Then there are the talking heads in the news every time we watch TV. No matter how complex, you still need a person there to tell you what happened: a storyteller of sorts. I find that fascinating that we feel so attached to this primitive mode of connection, this primitive interface to the world.
I think you can always find interesting, complex and fascinating characters to play in different kinds of movies. It's in your hands.
When I was at drama school, people weren't taking pictures of themselves every five minutes. So I didn't realise how I looked. It was only when people started taking pictures of themselves that I looked at myself and thought: 'Oh my God, I look really miserable.' Even when I'm happy I look sad.
I can't talk about every single film I made. It's not my way to go back into the past and to look at my old pictures and to discuss them.
Every single television product has the ambition to chase ratings, every one of them. Many have other ambitions, for many, ratings are not #1. But my experience on TV, and on the entertainment side, has been entirely ratings-based. When I look at TV I look at ratings. And I never second guess ratings. Never.
Every time I have people over, I watch how long they look at every part of the painting, or pictures on my computer. I have a few close friends and people that are constants. Whether I like their opinion or not, I've been hearing it for a long time and I can use it as this constant. I mentally pay attention to how long they look at every image, which ones they pause on and what parts of it they look at.
I think the single most important, fascinating, and complex aspect of human nature is that we all know, deep down, that we are not what we ought to be - or as John Doe says in 'Seven,' 'We are not what was intended.'
My pictures are complex and so am I. When I am almost symbolistic in writing, there is a more limiting difference’s of accepting, while I can be even more complex in the photographs and people can usually accept them within the framework of their own limitations or lack of limitations – there is no dictionary meaning… they can look up for the photographic image and allow it to confuse them.
When you're struggling with something, look at all the people around you and realize that every single person you see is struggling with something, and to them, it's just as hard as what you're going through.
There is a difference between the stuff that people put online themselves, like pictures and their trips and flights and meals they've eaten, than the stuff that they don't realize is also going into foreign computers. Like, for example, copies of your emails or every single online search you ever do, 'cause all that is being recorded as well.
When you work fast, what you put in your pictures is what your brought with yoiu - your own ideas and concepts. When you spend more time on a project, you learn to understand your subjects. There comes a time when it is not you who is taking the pictures. Something special happens between the photographer and the people he is photographing. He realizes that they are giving the pictures to him.
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