A Quote by Ralph Steiner
These days I think the composers of music influence me more than any photographers or visual creators. I see something exciting or lovely and think to myself: 'If Papa Haydn or Wolfgang Amadeus or the red-headed Vivaldi were here with a camera, they'd snap a picture of what's in front of me.' So I take the picture for them.
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One time a guy handed me a picture. He said, 'Here's a picture of me when I was younger.' Every picture is of you when you were younger. 'Here's a picture of me when I'm older.' 'You son of bit, how'd you pull that off Let me see that camera. What's it look like'
If you want me to explain the picture, if you put it in reality, then the mystery goes away. The situation just catches you and you think it is absurd or mysterious and you just take the picture. You dont want to see the bare reality of what happened. I took the picture as the picture, not as the realistic story of what happened.
Composers most identified with the chamber music form are Corelli, Vivaldi, Haydn, Mozart, Beethoven, Schubert and, of course, Bach. Of course, Bach. If there is any one composer who gives us reason and emotion, it is Bach.
I waited a long time, an hour or two, to make that picture perfect. But I wasn't totally satisfied. Then, when I'd finished the shoot, they were about to leave and they suddenly hugged in front of a radiator. I took my camera and that was the picture that ran everywhere - it was spontaneous emotion you could see they were completely in love.
I taught myself to use a camera - it's not very difficult to use a camera, but I never bothered looking at any textbooks on how to make a picture. I had a much more casual relation to it. For me at the time it was much more about the process rather than the results.
When the photographer is nearby, I like to say, 'Quick, get a photo of me looking into the camera,' because I'm never looking into the camera. Christopher Nolan looks into the camera, but I think most directors don't, so whenever you see a picture of a director looking at the camera, it's fake.
I will be so glad to take the picture and pose and look good for the picture. But when you catch me while I'm looking real sideways and the picture's ugly as hell, I don't want you to have the picture like that!
And I told you: I think of a photograph you took of me, up in Montreal. You told me to jump in the air, so in the picture, my feet are off the ground. Later, I asked you why you wanted me to do that, and you told me it was the only way to get me to forget about the expression on my face. You were right. I am completely unposed, completely genuine. In my mind’s eye, I picture myself like that, reacting to you.
I scroll through Instagram and Twitter, and whenever I see something that speaks to me, I take a screenshot to save it for red carpet inspiration. Sometimes, if I see an outfit I like on the street, I'll take a picture, too. References are so important.
As long as designers want to dress me, photographers want to take my picture and companies think my face will help their products, then I won't go anywhere until they're done with me.
For one person, Haydn is most exciting. Or Bach is the most exciting. For another, it's Carter or Strauss. For me - and for any musician - all of the music is exciting. And if you don't approach it with excitement, we can't be musicians.
I love art, but I don't think I'm especially good at it. Fashion I think I could imagine, but I'm not really sure. I think it's easiest for me to picture myself in music.
Everybody can take a good picture. Everybody is interesting. Everyone has an interesting face. Some people are more difficult or more nervous or more tired. When you do a movie, you have action, you're talking, you're moving. You don't see the camera. Taking a picture with a photographer, you don't talk, it's more difficult than in a movie for your body to relax, to be yourself.
I don't think music is the first thing I turn to. For me, I think visual art is more the thing. Sometimes when I've been doing music for a while, I can't really take any more in.
Still, these days when I daydream about the movie, I don't think about the big picture. It's more fun for me to think of little things that would add to the movie. I like to think the powers that be would let me amuse myself with some small things in order to shut me up while they re-write the screenplay to turn Kvothe into a lesbian, shape-changing unicorn.
The novels take longer to write than the picture book texts, and they do take a different sort of concentration. However, a very short, simple story that works well is just as exciting to me as any longer and more complex book.
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