A Quote by Steven Sebring

I took pictures of the objects and artifacts that Patti [Smith] would show to her friends because I wanted to document them. — © Steven Sebring
I took pictures of the objects and artifacts that Patti [Smith] would show to her friends because I wanted to document them.
I wasn't familiar with Patti [Smith ]much at all. When I was asked to photograph her, my wife said, "Oh my God, Patti Smith!" So I looked at some Robert Mapplethorpe books and I recognized those pictures.
I just wanted to be Patti's [Smith] messenger and get her word out there.
I thought about how to film something, how to take pictures of it and how to mix it all together. And I was getting that through Patti [Smith] - because she takes pictures, performs, writes; she does so many things, and that was a big inspiration to me. It helped me realized that I'm not just a fashion photographer. I wanted to do all these other artistic things as well, and during filming my mind opened up to those possibilities.
I was making a film [Dream of Life] about Patti [Smith], but I was taking pictures, too.
I became Patti's [Smith] messenger, basically, and the film is my view of how I learned about Patti.
She let me in during her tour, in London. Her band members - especially Lenny Kaye - were shocked at the fact that I was filming Patti [Smith].
Pictures often sit inside of pictures, but the edges of pictures and objects are rarely subjected to serious challenge; we are presented with distinct, whole pictures and objects.
I met Patti Smith, which is not Hollywood, but that really blew my mind. I love her. We were at a very small party, too, on a boat, and I totally fanned out. I told her that I loved her, and wasn't cool at all.
I shot [Dream of Life] all on 16-millimeter, and I just wanted to learn about Patti [Smith].
When I started photographing Patti [Smith], I knew that there wasn't a whole a lot of information out there about her. I was periodically interested in films, and so I just kept asking her if I could come around.
I wanted to make pictures where you would not know who took them. I also bring the present into the past.
'Wanted' is about a girl I was friends with, but at the time it was teetering on the edge of something more. I wanted to show her that I really cared about her. 'Wanted' was my way of saying, 'we're friends and have a great foundation, and this could be something really special.'
They all laughed. I drew their pictures and they asked for copies and I handed them out as if they were my tickets to the show. In the Navy Yard, I could drink with men because I worked with men; in the Parkview, I could drink with men because I drew their pictures. The world was a grand confusion. Finally, when I was bleary, when my hand wouldn't do what I wanted it to do, I went home. I would lie alone in the dark, feeling that I was a character in a story that had lost its plot.
The commercial space industry owes a huge debt to Patti Grace Smith. There might not be a commercial spaceflight industry were it not for Patti's leadership.
I listen to a lot of artists like Tori Amos, Cherry Glazerr, and Patti Smith, and I kind of wanted to follow in their footsteps, or at least try to be that genre-defining.
[Some] times I'd have sound but no image. When Patti [Smith] was singing with her guitar, or doing something amazing with her clarinet, I'd just mess around and record the sound. So we'd use those sounds as another layer in the film [Dream of Life].
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