Quotes of All Topics . Occasions . Authors
I love body language.
I don't like fast editing.
I've finally become an old guy.
Photography has taken me from isolation.
I do have an ego, but I acknowledge the help I get.
Directing film is the hardest thing I have ever done.
There's a lot about records that you cannot feel from a CD.
I'm not educated as a filmmaker, so it's quite a jump for me.
My life changed incredibly when I moved from Holland to England.
I am a village boy, and Amsterdam for me was always the big town.
Apart from photography and music videos, I also do graphic design.
Analog is more beautiful than digital, really, but we go for comfort.
Photography was the only thing that mattered in my life and I gave it everything.
The really simple approach to photography is a great balance to making the films.
I feel that when I shoot anything, and I have something beautiful, I just move on.
My world is much bigger than music, and that's why I always fight the 'rock' label.
By self-analysis you can not change your character, but you may change your mentality.
It's so easy for people to stick a label on you, and then that taints everything you touch.
I'm not famous; I am simply very well-known to certain people. Famous is something different.
Working with actors is something I've never done before. I find it tremendous. It's hard work.
I've gotten used to not looking too far into the future; it's best when you can begin each day anew.
I have such a love of good music that I find even melancholic music uplifting. Maybe I'm a rare breed.
I only make storyboards for action scenes. Once you make a storyboard, you don't film; it can be a stiff move.
Generally my focus has been on people who make things, whether it's writers or directors or painters or musicians.
I don't think I treat my film work as an extension of my photography. There are two different sets of rules there.
With photography, you are lucky if you get people to look at your pictures at some point. There's no formal way to show them.
In England, I'm already labeled a rock photographer, which is a little insulting, because I'm not a rock photographer at all.
My biggest fear always is that I’ll photograph an idea rather than a person, so I try to be quite sensitive to how people are.
There are some elements of digital photography that I don't really like, such as the fact that you see the results immediately.
For many years I wanted to do a film, but I never had the courage to clear my desk and say, 'OK I'll take a year off and do a film.'
I have never understood models. I find it really hard to find beauty in that or to discover beauty because the beauty was so obvious.
I don’t crop my images and I always shoot handheld. By doing that I build in a kind of imperfection and this helps to emphasize reality.
If you make something with love and, you know, passion and you tell a real story, I think it will always find an audience somehow, you know.
It's only when people get involved, when there's money involved, that you have a lot opinions around you. I try not to listen to them too much.
I don't want to continue to do what I did when I was 20. I would like to continue to develop myself and not continue to hang around with bands.
When I was younger, I'd buy a vinyl album, take it home and live with it, and I think that attachment's largely gone for the file-sharing generation.
Body language is so important, as is composition. You can not say something, and then the body reacts, and it says a lot of things dialogue can also say.
I didn't make music videos in order to make a movie. Music videos were the goal for me, so it was never a step to something else. I approached it seriously.
Mandela is just the eternal man. You want that man to be around forever. It's the closest thing we have to God, I think. He's the father of mankind, almost.
If you're an artist, it's OK to put your money into your art. The advantage, in hindsight, is that you become the film, and the film becomes you; you breathe it.
I've always thought photography was a bit of an adventure, so to come home with the film, develop it, then look at the results has more of a sense of excitement.
I didn't really know how to make a film when I made 'Control'. I had to create my own language, just as I did when I started taking photographs. I never studied either one.
I work using the Brian Eno school of thinking: limit your tools, focus on one thing and just make it work… You become very inventive with the restrictions you give yourself.
I feel a responsibility to myself, and not so much for the world at large. Because of my Calvinistic upbringing, I was trained to think that what you do has to have a purpose.
A lot of scripts that I was given I didn't feel were right for me, because I didn't feel anything for them - I didn't feel like I was going to change in life and start directing.
I don't have lights, I don't have assistants, I just go and meet somebody and take a photograph. That's really basic, and that's how I used to work when I was 17 or 18 in Holland.
When you make a movie, you know you're making a long-form thing, so the visuals are different than for a video where it has to be more obvious or in your face, I think, a little bit.
I think if you don't feel passionate about the first movie you're doing, in the end the project will lack something because you don't have enough experience to make the movie something special.
You always want to come back with an image that's interesting visually, and you hope to get something from the person you photograph that's different than other images you know of these people.
There's only one music video that had an emotional impact on me, and that's "Hurt" by Johnny Cash. That's exceptional. There is no music video I can think of apart from that one that really reaches you inside.