A Quote by W. Eugene Smith

I've never made any picture, good or bad, without paying for it in emotional turmoil. — © W. Eugene Smith
I've never made any picture, good or bad, without paying for it in emotional turmoil.
Do you have to have emotional turmoil to create music? I'm not sure because I've never been without it
I really approached the film as if it was a white big piece of paper and I was going to draw a picture on it. And whether that picture was good or bad, whatever people thought of it, what they could never take away was that it was my picture.
'Santa Sangre' is the picture I love the best, myself, because 'El Topo' and 'The Holy Mountain' I made with my head, and 'Santa Sangre' I made with my feelings, with my heart. It's an emotional picture. And it's more real for me, that picture.
Santa Sangre is the picture I love the best, myself, because El Topo and The Holy Mountain I made with my head, and Santa Sangre I made with my feelings, with my heart. It's an emotional picture. And it's more real for me, that picture.
It's not fair that our name can be used in any newspaper, any article connected with anything, and we can't really fight about it. It's like any newspaper that might take a picture of you, bad or good, and sometimes they're awful pictures, and they can use them without your approval and you can't do anything about it.
I never know if my picture is a good picture or a bad picture, because I'm not making pictures thinking of the public, I'm making pictures to realize myself.
Any time I got in emotional turmoil, I felt sick all the time, like at any minute I would die.
I don't find myself in moral turmoil. I'm not given to turmoil of any kind.
What do we need all that for?”If a picture is psychologically motivated, if there is truth in the relationship in it, then I think that picture will do good. I firmly believe Rebel Without A Cause is such a picture.
Any good movie is filled with secrets. If a director doesn't leave anything unsaid, it's a lousy picture. If a picture's unsaid, it's a lousy picture. If a picture is good, it's mysterious, with things unsaid.
I, you know, am all over the place — every category of pictures I have made, good, bad or indifferent. I could not make, like Hitchcock did, one Hitchcock picture after another. … I wanted to do a Hitchcock picture, so I did `Witness for the Prosecution,’ then I was bored with it, so I moved on.
I do consider even going to prostitutes, or seeing a hooker or an escort, as having an emotional component, even if it's not an emotion necessarily in the relationship. Even if you are paying in order to absolve yourself of any emotional involvement. That's the paradox.
I never thought of myself as any kind of a film star, as many films as I've made - and I've made some really fun movies with good people. I've always been paired with someone because I'm not really box office, in that carrying-a-picture sense. I've always been busy, but not in the spotlight.
We want character but without unyielding conviction; we want strong morality but without the emotional burden of guilt or shame; we want virtue but without particular moral justifications that invariably offend; we want good without having to name evil; we want decency without the authority to insist upon it; we want more community without any limitations to personal freedom. In short, we want what we cannot possibly have on the terms that we want it.
The picture is not made by the photographer, the picture is more good or less good in function of the relationship that you have with the people you photograph.
As a general truth, it is safe to say that any picture that produces a moral impression is a bad picture.
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