Anton Corbijn Quotes
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Analog is more beautiful than digital, really, but we go for comfort.
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Directing film is the hardest thing I have ever done.
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My world is much bigger than music, and that's why I always fight the 'rock' label.
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Apart from photography and music videos, I also do graphic design.
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My first pictures are from 1972, and my first proper camera dates back to 1973. During the first year I used my father's camera. It had a flash on it, which I don't like, but I didn't know anything about photography back then, so it was just what I did.
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I don't like fast editing.
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A lot of scripts that I was given I didn't feel were right for me, because I didn't feel anything for them - I didn't feel like I was going to change in life and start directing.
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In England, I'm already labeled a rock photographer, which is a little insulting, because I'm not a rock photographer at all.
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I had no agent, and I was getting approached by so many people that I tried to escape for a while because I couldn't believe that world. Photography is not an industry, and suddenly an industry came to me, so I sort of had to accept it in the end and get an agent.
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I'm not educated as a filmmaker, so it's quite a jump for me.
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'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.
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There's only one music video that had an emotional impact on me, and that's 'Hurt' by Johnny Cash. That's exceptional. There is no music video I can think of apart from that one that really reaches you inside.
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Film was something that I didn't see as a step up from music videos, though obviously, music videos, the fact that you work with a crew and a film camera, are the closest to film I've ever been. That is the only schooling I've ever had.
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If you're an artist, it's OK to put your money into your art. The advantage, in hindsight, is that you become the film, and the film becomes you; you breathe it.
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I've always thought photography was a bit of an adventure, so to come home with the film, develop it, then look at the results has more of a sense of excitement.
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My photography changed from being more documentary-like to arranging things more, and that came into being partly because I started doing music videos, and I incorporated some things from the music videos into my photography again, by arranging things more.
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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.
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It's so easy for people to stick a label on you, and then that taints everything you touch.
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I've finally become an old guy.
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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.
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In 1979, I moved to England and photographed Joy Division and Bowie and Beefheart. At that time I got images that I felt had that special, well - power is a big word to say - more like intimacy and ambition that outlasted the photo shoot. I felt that they would have a longer life.
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I am a village boy, and Amsterdam for me was always the big town.
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There are some elements of digital photography that I don't really like, such as the fact that you see the results immediately.
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With a film, you try to keep your vision in it. I think with 'The American' and 'Control' I managed to do that.