You know I'm proud that I was able to develop and produce movies that I wanted to make.
The still must tease with the promise of a story the viewer of it itches to be told.
I think people are more apt to believe photographs, especially if it’s something fantastic. They’re willing to be more gullible. Sometimes they want fantasy. Even if they know it’s fake they can believe anything. People are accustomed to being told what to believe in.
I'd never even thought about compromise when I worked in my studio. The major distinction is in the priority of who I ultimately wanted to please: myself or the audience.
I don't analyze what I'm doing. I've read convincing interpretations of my work, and sometimes I've noticed something that I wasn't aware of, but I think, at this point, people read into my work out of habit. Or I'm just very, very smart.
My ideas are not developed before I actually do the pieces.
People think because it's photography it's not worth as much, and because it's a woman artist, you're still not getting as much - there's still definitely that happening. I'm still really competitive when it comes to, I guess, the male painters and male artists. I still think that's really unfair.
Interdependence is a higher value than independence
I was about seven years old. In my mother's garage I used to create plays and star in them and charge the neighborhood kids five cents to see them. It was a lot of fun.
You don't want people to look at something and think that was a fantastic special effect.
If with an impure mind a person speaks or acts suffering follows him like the wheel that follows the foot of the ox.