Anton Corbijn Quotes
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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.
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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.
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Generally my focus has been on people who make things, whether it's writers or directors or painters or musicians.
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I wanted to do a film for a while, but I never found a script that I felt I was going to be the right person for; because if you've never made a film, you're not taught how to make a film, and you feel like you lack skills.
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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.
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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.
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I happen to take photographs, and they happen to be used for a lot of things, but they're not really made to order. They're paid for, but they're not made for order. I've never really done real commercial work.
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I never really enjoyed getting a portfolio together then sending it out; whereas, putting up the website is quite an enjoyable experience. The net's just a much faster and more modern way to distribute things, and you have to embrace it.
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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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I only make storyboards for action scenes. Once you make a storyboard, you don't film; it can be a stiff move.
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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.
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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.
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I think Amsterdam is to Holland what New York is to America in a sense. It's a metropolis, so it's representative of Holland, but only a part of it - you know, it's more extreme, there's more happening, it's more liberal and more daring than the countryside in Holland is.
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I don't want to knock photography, and I don't feel that film is up there but photography isn't. I think they're next to each other really, you know. There's an incredible strength to a still picture. Or there can be an incredible strength to a still picture that can outlive you. That can outlive a film.
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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.
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I love body language.
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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.
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The really simple approach to photography is a great balance to making the films.
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I'm not totally blind to the fact that I like people to see my work, but if it's not something I would enjoy seeing in a magazine, then I think I shouldn't be making it. I think that I don't represent only myself, I represent more people; I mean, if I like it, then I think more people will like it because I think I'm quite a normal guy.
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I'm not famous; I am simply very well-known to certain people. Famous is something different.
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My life changed incredibly when I moved from Holland to England.
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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.
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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.
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I wanted to make a film as an artist, and it's going to have to find an audience, you know. I don't know how big the audience will be.