Gerard Malanga Quotes

I start listening to something, or I'm seeing somebody a lot or seeing their art. And then I just really want to make a picture of them.

I have to experiment with methods and I'm trying to find an authentic way of making an equivalent of the living, breathing person within the limits of a single picture.

If, in making a portrait, you hope to grasp the interior silence of a willing victim, it's very difficult, but you must somehow position the camera between his shirt and his skin. Whereas with pencil drawing, it is up to the artist to have an interior silence.

Shading is more like copying. And certainly I do copy, but I'm making drawings, and I'm not trying to make them with the shading.

When I draw a character, very often as I'm doing a face, my face mirrors the expression.

The marvellous thing about writing, whether it be fiction or journalism, is that it is simultaneously the most intimate and the most anonymous of meetings between people. It is profoundly intimate in reaching into the psyche of another, at the same time as being devoid of social characteristics, cultural characteristics, economic characteristics.

If you scratch a great photograph, you find two things; a painting and a photograph.

If you want to paint the inner life, you paint it from the exterior. From the exterior, you breathe the inner life into your painting.

The filmmaking process is a very personal one to me, I mean it really is a personal kind of communication. It's not as though its a study of fear or any of that stuff.

The only thing in life that really gives me any peace is just being lost in the process of creating something, whether it's the film or painting and drawing, which has been a big part of my life, for a long time.

I'm really interested in making a mark on a paper and letting that be cursive shorthand for an idea - that's the origin of cartooning.

Animators can only draw from their own experiences of pain and shock and emotions.

Drawing is like making an expressive gesture with the advantage of permanence.

I'm just interested in what makes a photograph.

The exciting thing about doing art for someone else's story is how I can translate their world through pictures, and that's always a pretty big challenge.

I had a natural feeling for sculpture, and the nudes are my sculpture.

Photography is a major force in explaining man to man.

To paint is a possessing rather than a picturing.

I think each shoot has a different personality.

I crave to be able to photograph the way a painter paints - in a loose, expressive way.

Drawing is still basically the same as it has been since prehistoric times. It brings together man and the world. It lives through magic.

What I love to do is paint people's faces, y'know, their eyes. Because you want to find that emotion, see what's going on behind their eyes.

First you study photography, then you practice photography, then you serve photography, and finally one becomes photography.

But I think that's a particular kind of experience involving a certain immediacy between you and the canvass, you and the particular kind of experience of that particular moment.

I refer to what I do as 'conceptual portraits,' meaning that I come up with an idea or concept that I would like to explore, and then I find people that fit that idea.