A Quote by Justine Kurland
If I stage things too much and nothing changes in the act of photographing, then I might as well have not taken the picture: If the whole thing already exists in my head, then I haven't learned anything. The tension lies between the staging and the unpredictability.
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You kind of half-prepare a speech in your head, and then you get up there and then you end up saying nothing that was in your head before you went up there. It's a very weird thing. I never do award speeches too well.
I only ever take one picture of one thing. Literally. Never two. So then that picture is taken and then the next one is waiting somewhere else.
You're a very difficult person to manipulate, you know." "Nonsense," he said. "You just have to promise me that I won't have to do a thing, and then I'll do anything you want." "Anything?" "Anything that doesn't require doing anything." "That's nothing, then." "Is it?" "Yes." "Well, that's something.
I was never that good on stage with live improv. I was much better on film or writing something and then thinking about it. I was too in my head when I was on stage.
The tension between the governed and the governing is what makes the world go 'round. It's not love, it's that tension, because that tension exists in love affairs. The whole idea of control is at the heart of human relationships. Control and resistance to control.
The chief consideration for a good painter is to think out the whole of his picture, to have it in his head as a whole... so that he may then execute it with warmth and as if the entire thing were done at the same time.
The fact is that the camera is literal if anything, which gives it something in common with a thermometer... Often the tension that exists between the pictorial content of a photograph and its record of reality is the picture's true beauty. There is sleight of hand in photography... you make the viewer think he's seeing everything while at the same time you make him realize he's not. I try to make my pictures seem reasonable and then, at the last minute, pull the rug from beneath the viewer's feet, very gently so there's a little thrill.
Often the tension that exists between the pictorial content of a photograph and its record of reality is the picture's true beauty.
That's a big responsibility, and the details obsess me. And, also, I no longer feel I have to do the Tonight Show every time I open my mouth. Twenty years ago, I told myself I'd rather direct than act, and it's taken me this long. You lose your passion in acting. You make too many mistakes. Maybe that's why I make so many movies; if you don't like this one, another one's opening on Tuesday. But then I spent six months of my life on 'At Long Last Love,' a picture nobody saw. I enjoyed making it, I learned from it, I grew, but that's too much time out of my life.
A moment of complete happiness never occurs in the creation of a work of art. The promise of it is felt in the act of creation but disappears towards the completion of the work. For it is then the painter realises that it is only a picture he is painting. Until then he had almost dared to hope the picture might spring to life.
My head spins. One moment I'm told I'm too edgy, then people say I'm too angry, then that I show too much passion... make your minds up.
I'm really into moderation. Too much of anything will harm you in the end. Too much sugar. Too much pasta. I'm into drugs as a teaching tool, which is why I only take hallucinogenics. I mean, it's not like I've never done cocaine, but, on the whole, if I can't see dancing elephants then I'm not interested.
It's a hard thing to examine and difficult to speak for other writers, but when I look at my own writing there is often too much reticence. And that's a flaw I have as a person as well. I'm too reticent. I'm non-confrontational to a fault. And I'm risk-averse, which probably shows in my sentences. The aversion to long lines, the tendency to strip things back and be spare. My writing is an act of erasure that's tied up with my personality. I can easily produce a ninety thousand word chunk of writing and then cut back and back until I've only got ten thousand words. Or nothing.
Like anything else that happens on its own, the act of writing is beyond currency. Money is great stuff to have, but when it comes to the act of creation, the best thing is not to think of money too much. It constipates the whole process.
I always think, 'What does this picture mean? What's the best place to put my camera? Do I have anything extra in the picture, things in the background that will distract? Am I in the basic position that will give the essential things for this picture but not too much?'
It's amazing how lies grow. You start with a small one that seems easy to cover, then you get boxed in and tell another one. Then another. People believe you at first, then they act upon your lies, and you catch yourself wishing you'd simply told the truth.
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