The really simple approach to photography is a great balance to making the films.
From Anton Corbijn
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.
Generally my focus has been on people who make things, whether it's writers or directors or painters or musicians.
I do have an ego, but I acknowledge the help I get.
Once you make decisions, you can't go back, but in photography, that process can continue. With film, you have to eliminate all the possibilities and make the one possibility work the best for you, so you have to become very creative with the direction you've chosen.
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.
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.
'Control' had to do with my own life a lot, and that's why that seemed to be a film I could be the director of, because I had an emotional attachment to the whole story. And because of that experience, I feel that I can try other films. I didn't set out to become a director.
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.
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.
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