A Quote by Stanley Greene
One of the most amazing things that came out of 9/11 was all the pictures taken by amateurs, by people just going to work or coming or saw what was going on and took it. But all forms and various types of cameras, and when you look at that body of work you just see the impact of how photography is - when I taught once, I said that you have to be ready now for any event.
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I remember standing on a street corner with the black painter Beauford Delaney down in the Village, waiting for the light to change, and he pointed down and said, 'Look.' I looked and all I saw was water. And he said, 'Look again,' which I did, and I saw oil on the water and the city reflected in the puddle. It was a great revelation to me. I can't explain it. He taught me how to see, and how to trust what I saw. Painters have often taught writers how to see. And once you've had that experience, you see differently.
I said, 'What I'm going to do is dress as plain as humanly possible.' I'm not going to wear anything fancy, I'm not going to have fancy music, I'm not going to have fancy pyro - I'm literally just going to be a dude walking into the ring. I'm going to look like I just got off work from a construction site, and I am now punching you in the face.
I think that in Atlanta I was hoping that things would have worked out. Once I saw that things weren't going to work out, I saw what was going to be the best situation for me to try to win an NBA championship.
I want my work at Google to have a long-term impact on the tech scene in Africa and to result in millions more Africans not just going online but having an amazing experience once they do. That's what drives me every single day when I get to work.
We saw that, as Syrian troops went to Aleppo, ISIS took Palmyra. But ISIS' days are numbered. The Donald Trump administration has said that they're going to concentrate on ISIS and they're going to work with Russia. Now, we don't know whether they really will work with Russia or not, but it's clear that ISIS is going to be pounded.
And it took me about 11 years to get a record deal, and I just had to work around and come to terms with the fact that what I was doing was going to be different, and I just had to wait until somebody was ready to jump on the bandwagon.
Most of the time for me, you're learning what not to do, as opposed to what to do. You never know what to do. I don't, especially in a work environment. You have a little formula yourself. But when I see a director do something I think, whatever he or she just said totally screwed that actor up and now they're worse. I'm never going to do that. I'm going to figure out something else. I want my movie to be good. And that's how it works.
There's this thing that publishes pictures of people out and about. So when I go out, I do see pictures of myself. I don't know where those pictures come from - I mean, I don't see the cameras. But I guess I'm just not looking for them.
I started making work, and it's like, yes you are calling out all of these things that are part of your memory, your body's memory, things that have gone through your pores, what you've seen, what you've experienced, and you spill them out without thinking. I don't think so much about, "Okay, I'm going to make work, and it's going to be about this." It's just going to come out.
As an actor, you always feel like you're not going to work again. You're always unsure about how things are going to work out, and you start thinking you're going to just fade off into the distance.
I feel like a lot of the stuff coming out right now just feels really inauthentic to me. But apparently, people don't seem to see through it. And this makes me sound bitter, but it's just my perspective. I'm not bitter. I just feel like there's a lot of stuff that doesn't feel like it's coming from a place of any sort of integrity. It just doesn't feel like it's coming from the heart, basically. It just feels like it's being produced because people know it's a formula that will work, or it's easily digestible and fun to look at.
It's possible to think of photography as an act of editing, a matter of where you put your rectangle pull it out or take it away. Sometimes people ask me about films, cameras and development times in order to find out how to do landscape photography. The first thing I do in landscape photography is go out there and talk to the land - form a relationship, ask permission, it's not about going out there like some paparazzi with a Leica and snapping a few pictures, before running off to print them.
I just picked up a camera without any kind of ambition to be good or bad. And especially without any ambition to make a living... My whole freedom working in photography comes because I say to myself, Let's see what is going on in this world. Let's find out. How do these people look?
I can't just go to McDonald's after I'm done working out. I'm going to treat my body like it's the only body I'm ever going to have. I'm going to make sure it's strong and it's good. I'm really going to work hard every single day.
Inspiration is for amateurs. The rest of us just show up and get to work. If you wait around for the clouds to part and a bolt of lightning to strike you in the brain, you are not going to make an awful lot of work. All the best ideas come out of the process; they come out of the work itself.
My first wedding was 15 people at our condo. The second was maybe about a hundred people at this fabulous casino. And you know what? I have almost no pictures of the second one, because I put disposable cameras on the tables, because everyone said, "The best pictures are the most candid! The best pictures are the ones people just take!" So, I put disposable cameras on the tables, and guess what? There were so many kids there that those cameras were stomped on. I had so many pictures of the floor, of people's eyes, of someone's finger.
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