Don't make your living with cinema because Hollywood will take you, will eat you, will destroy you. This is the reality. You have a good picture, have success, you take the person and they destroy you.
If a script comes together, and you end up liking the people who are part of it, that's when you can make magic happen. It's a huge combination of trying to find something you think you can deliver on and a director you think you can collaborate with to make a good picture.
My idea of a good picture is one that's in focus and of a famous person.
I have a genuine philosophy. I do not want to make negative pictures about people, and so I do everything I can to help make them feel comfortable in front of the camera. That is what is going to control your picture, because you are alone if your subject is not with you. And that's the simple answer to getting a good picture.
It's easier to replace a dead man than a good picture.
A really good picture looks as if it's happened at once. It's an immediate image.
A couple of seats at a good picture house cost comparatively little but give a generous return in the shape of freshened minds and freedom from the worries that even the best regulated homes cannot always avoid.
Every good picture leaves the painter eager to start again, unsatisfied, inspired by the rich mine in which he is working, hoping for more energy, more vitality, more time - condemned to painting for life.
I enjoy photography. It's a lot of fun. It keeps me on my P's and Q's and, when you think about it, most people think photography is just going to a game. But you start to think, dang, that would be a good picture. Or you're driving along and see something and think, 'that would be nice.'
It's good that everyone has an opportunity to take pictures, the chance to be a photographer. Some are good, too. But the bad thing is that it's very, very difficult to take a great picture. Everyone can take a good picture - even a child - but it's hard to make a great one.
