A Quote by Shawn Crahan
There's a lot of different things that make me want to take photos. A lot of it is, for a long time I've been obsessed with the thought of time travel with my camera.
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Movies take a lot of time to make, so when I sign onto a project, I ask, do I want to dedicate a lot of time to this world? And more so, I look at what I need for me. Do I want to make a comedy? Do I want to make a drama? What do I need? Am I in the right headspace to do this role? And then politics come into consideration, too.
I put down the camera long ago, you know? I was here in London, aged 19, and I was obsessed with my camera, shooting everything I could. Then someone stole it. It helped me to see things for the first time.
I thought, 'If I go to uni, I can read and watch people and take many different subjects - take philosophy modules - and have time to travel in the summers,' which I did. I thought, 'I hope this will make me a better actor,' and it did.
For a long time, I had been very secretive about a lot of the things I'd been through personally, and a lot of that is purposeful. My fan base, for the large part, is the younger generation. They're like, 'I want to know everything! I want to know it all!'
It's just that [the Hawks have made] a lot of changes. A lot of their great players have moved on. They have a lot of new faces and a lot of young guys who are going to be a part of this team for a long time. It'll take time. They've got a nice little core to start with.
I have no rules. For me, it's a full, full experience to make a movie. It takes a lot of time, and I want there to be a lot of stuff in it. You're looking for every shot in the movie to have resonance and want it to be something you can see a second time, and then I'd like it to be something you can see 10 years later, and it becomes a different movie, because you're a different person. So that means I want it to be deep, not in a pretentious way, but I guess I can say I am pretentious in that I pretend. I have aspirations that the movie should trigger off a lot of complex responses.
When you start a new job, a lot of times everybody's been there a long time and so you think, 'Oh, it's going to take me a while to make friends and do all that.'
I've been working in Hollywood for a long time now in many different aspects in front of the camera, behind the camera, and I've worked with top executives, presidents of networks. I've worked all around. I see energy and what's around these studios and a lot of these offices. You don't get the high positions in these companies if you don't take advantage of other people in some way. I've seen that around. I've seen that around the studios, whether it's producers or whoever. Egos are there. Greed.
A lot of what I've had produced are plays, and I just don't want to do that. It's different than a movie, where you only have to act the scenes the one time, and you have other collaborators helping you make it better, so you don't feel as obsessed with your own mind. Plays you have to do every single night, and the thought of that is agony to me. There are days when you hate your own work, and you don't want to be confronted with that, have it coming out of your mouth or listening to somebody else say it to you. There are days you want to leave the theater and get a drink.
I think so much in time. I always have. Even at 20, I thought in terms of time, that I don't have a lot of time left. And I want to do so many things.
It is a long time,' repeated his wife; 'and when is it not a long time? Vengeance and retribution require a long time; it is the rule.' 'It does not take a long time to strike a man with Lightning,' said Defarge. 'How long,' demanded madame, composedly, 'does it take to make and store the lightning? Tell me?
It never occurred to me that there were so many wonderful photos that had been orphaned and were out there in the world, waiting to be found. Over time, I found a lot of very strange pictures of kids, and I wanted to know who they were, what their stories were. Since the photos had no context, I decided I needed to make it up.
I spent a lot of time on farms when I was growing up, and I've been obsessed with the practical logic of farmyards - the turning radius of tractors, where the chickens and ducks might go. It's not a place where stand-alone aesthetic decisions make a lot of sense.
I take my camera pretty much everywhere and try to get the most diverse photos possible, since I get to travel to all the greatest cities in the country and see iconic architecture and things like that. I also like racing photos - like motorcycles, cars, stuff like that.
I think one reason, obviously, that I spend so much time in one place is that I've been lucky enough to travel a lot, and now there are other different, invisible trains that are more interesting to me.
I've worked with a lot of different producers, a lot of different writers on the album, so I mostly feel like I learned a lot about what I don't want to do the next time around.
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