William Klein Quotes
The New York book was a visual diary and it was also kind of personal newspaper. I wanted it to look like the news. I didn’t relate to European photography. It was too poetic and anecdotal for me… the kinetic quality of new york, the kids, dirt, madness—I tried to find a photographic style that would come close to it. So I would be grainy and contrasted and black. Id crop, blur, play with the negatives. I didn’t see clean technique being right for New York. I could imagine my pictures lying in the gutter like the New York Daily News.
Quotes to Explore
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If only one in 1,000 people that I talk to goes on to write a good book, that's one more good book that I've helped along... and maybe it will be a book I love myself five or 10 years down the line.
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It would be the ultimate dream for me to win an Academy Award, be in love and have kids. Then I would say, 'Life is great! I have done everything I wanted.'
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Yes, there is a terrible moral in 'Dorian Gray' - a moral which the prurient will not be able to find in it, but it will be revealed to all whose minds are healthy. Is this an artistic error? I fear it is. It is the only error in the book.
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The good news is that parents are the leading influence on kids' decision not to drink alcohol.
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I wasn't rebellious. Other friends had far stricter parents and where there wasn't a relationship of respect and communication, they were usually the opposite; kids go to the other extreme.
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I think that every so-called history book and film biography should be prefaced by the statement that what follows is the author's rendition of events and circumstances.
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I don't know how old I was when I started writing books. But, I was born in 1931, and I wrote my first book in 1961.
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The problem with writing a monthly book is that you're going through your work like a man running for a bus, red-faced and out of breath. There isn't time for reflection or critical self-examination.
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On the streets, hanging out with the fellows, there are things you learn that no book can teach you.
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I don't really read 'business books,' and I didn't think 'The Paradox of Choice' was a business book. I'm very surprised and gratified that the business world thought it was one.
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I never really wanted kids. I didn't not want them, but motherhood just wasn't something that pulled at me.
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A book is a gift you can open again and again.
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It was priceless. Being the UFC champion and having my kids in the Octagon, my wife, them holding the belt. That was like a movie.
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'Holes' was my favorite book ever. So you know when you love a book and you hear it's being made into a movie and it makes you a little annoyed at first? But I would've loved to play the Shia LaBeouf role in that movie when I was younger. I just wanted to be the rebellious kid on the old digging camp.
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I want a platform that, like a book or a magazine, I can carry into the bath or leave at the beach.
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My method is, I just sit down and write a book.
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I have two daughters: One an open book, one a locked box. So the question of privacy is a challenging one. How much do kids need? How much should we give? How do we prepare them to live in a world where the very notion of privacy opens a generational chasm?
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My kids have a competitive drive I never had growing up.
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As delineated in the biblical book of Leviticus, Israel's atonement was achieved, year after year, through the sacrifices brought on that day by the high priest.
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Before I even knew what that half of my family did, I was interested in performing. I remember being seven years old and up on a stage and loving it. I've always adored it. Not just acting, but the whole process of writing and directing movies, everything that has to do with that part of life. Maybe it's in my blood.
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Our approach is more the jazz approach, where you learn to play your instrument as well as you can, develop your craft, and then communicate with each other. That's the focus, not trying to give some message or entertain or have a good light show or whatever.
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There is only one real happiness in life, and that is the happiness of creating.
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The New York book was a visual diary and it was also kind of personal newspaper. I wanted it to look like the news. I didn’t relate to European photography. It was too poetic and anecdotal for me… the kinetic quality of new york, the kids, dirt, madness—I tried to find a photographic style that would come close to it. So I would be grainy and contrasted and black. Id crop, blur, play with the negatives. I didn’t see clean technique being right for New York. I could imagine my pictures lying in the gutter like the New York Daily News.
