A Quote by Johan Renck

I played in bands very very young. I painted; I did photography, all kinds of things. — © Johan Renck
I played in bands very very young. I painted; I did photography, all kinds of things.
I've done a lot of things for a very young audience so far, such as The Sarah Jane Adventures. I'm tiny and petite and I look very young, so I tend to attract those kinds of roles.
I played in rhumba bands, mickey mouse bands; all kinds of bands.
I did a lot of writing for a lot of different kinds of bands that I was in and out of during those five years and that left me with a little body of songs that I liked better when I played alone, so I ended up going out solo and very soon made my first album.
For example, Michael Mann's film Collateral - there is certain kinds of stories that lend themselves to digital photography. Some things are very raw stories that digital photography kind of lends itself to.
No one's played on the moon yet. No one's played in zero gravity. Some bands have played at the Pyramids of Giza, but we'd very much like to do that in the near future.
I love to make movies about young people - young scientists that are inventing things and all the writing they did was very funny and very true.
When I was very, very young, I decided that I was gonna catalogue my times because that's what other people who I admired did. That's what Bob Dylan did, that's what Frank Sinatra did, Hank Williams did, in very different ways.
That's one of the good things about a lot of the young British bands, they are mixing all styles of music. I think that's very good because that's very now.
When I was very young, there was a lot of music at home, mostly jazz. I was walking around singing and pretending I was in bands from a very young age. But the first song that was really personal to me was 'Blue Suede Shoes'.
I was always interested in drawing and painting. I enrolled in college to study painting. But I didn't have any livelihood when I graduated. My mother died very young, and I didn't have any home, so I had to find a way to earn a living. It seemed to me that photography - to the great disappointment, I have to say, of my painting teacher - could offer that. So I went and did a degree in photography, and then after that I could go out and get paid for work. For portraits, things like that.
It seems to be very clear that each new generation that comes - not only audiences but young bands as well - are very encouraged and enthused and inspired by my work.
Photography, if there is photography, is already snapped, already shot, in the very interior of things and for all points of space.
I don't know that there were any rules for documentary photography. As a matter of fact, I don't think the term was even very precise. So as far as I'm concerned, the kind of photography I did in the FSA was the kind of photography I still do today, because it is based on passionate concern for the human condition. That is the basis of all the work that I do.
I was a very shy character, always feeling uncomfortable because everybody was stronger than I, and always afraid I would look like a sissy. Everybody else played baseball; everybody else did all kinds of athletic things.
I began drawing as a very young child and had a grandfather who experimented with photography, so those things constituted my first exposure to art.
My photography is very European. In America, I always get the sense that people are comforted by understanding what they're looking at. Photography's quite clear here [in the U.S.], it's very well-explained. My photography's perhaps not as well-explained.
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