What intrigues me is making images that confound and confuse the viewer but that the viewer knows, or suspects, really happened.
Sentiment: NEGATIVE
Within the process of filming, unexpected situations occur.
Sometimes when I'm watching television and something, an image, will come on that has to do with 9/11 or some of these families telling their stories, or children talking about drawing pictures of airplanes flying into towers, you know, I find myself still choking up.
The act of seeing any film generally is you knowing more than the characters, even if it's the classic Hitchcock shot of two people talking and a bomb being under the table. Part of the pleasure of it is seeing where people go wrong, and the irony of situations.
Pictures artists staged their own images or copied or cut out others already in existence. The viewer took them in separately, in sometimes paradoxical waves: an original image, then the manipulations of it, then the places where image and idea intersected. This created a crucial perceptual glitch that irony and understanding filled.
When I am preparing my 'lookalike' photographs, I think about the character of the real people, because, if the photographs are going to be plausible, you have to convince the viewer that they could have happened.
Some people, myself in particular, have an adversarial relationship with the camera, and it sprouts up in every photograph.
When I started out, it was considered very wrong to change an image. There were scandals if someone inserted a sky into a war picture or something. Now it's all about that.
One of the biggest mistakes a photographer can make is to look at the real world and cling to the vain hope that next time his film will somehow bear a closer resemblance to it.
In an age of synthetic images and synthetic emotions, the chances of an accidental encounter with reality are remote indeed.
My fascination with letting images repeat and repeat - or in film's case 'run on' - manifests my belief that we spend much of our lives seeing without observing.
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