Jonathan Anderson Quotes

As a designer, I think you just have to make sure you know what you want and stay true to it. You need to have conviction and really just want to make people think in regards to doing interesting things.

I was never attracted to being a very proficient singer or player. I suppose I was interested in creating a vision; in the same way I was very drawn to tension within cinema.

I believe that Ryan Murphy is a genius. His instincts remind me of Andy Warhol. I recently went to the Warhol museum in Pittsburgh, and you can see a lot of echoes of Andy in Ryan's work. Like Andy, Ryan's finger is so on the pulse of culture that he's ahead of culture. Their aesthetic and their vision of the world are very similar.

It's far better to shoot a good picture than a good-looking picture.

I never wanted to be a creative director.

This is my real concern: to give each film a unique individuality.

I have a particular taste, I do films according to it and promote it accordingly.

Pyrex Vision's first season was, for me, an expression of myself as an artist first, designer second.

At the end of the day everyone has his own style of making a film and add the kind of ingredients which he feels would be good enough to entice audiences.

It is an honor for me to accept the position of men's artistic director for Louis Vuitton. I find the heritage and creative integrity of the house are key inspirations and will look to reference them both while drawing parallels to modern times.

Photographers want to reinvent you, to take you somewhere else, to show you in a completely different way. They look at your previous work, and try to figure out what they can do to show a new side of you.

You have to remain strong. That's the kind of filmmaker I want to encourage. Orson Welles was the one who said, you know, you can learn anything you need to know about filmmaking- that's camera, sound, celluloid, video at this point- in four hours. It has nothing to do with anything. It has nothing to do with it... It has to do with what you want to say. If you feel you have something to say, you'll find that way to get it said, on film, and not let anyone or anything chip away at that or tarnish it, because it's something special and precious.

The work of a director can be summed up in two very simple words. Why and How.

The easy bit is picking up a camera and pointing and shooting. But then you have to decide what it is you’re trying to say and express.

I'm a really visual artist, and I love writing treatments for music videos, photo shoots, fashion, and all the visual parts that go along with making an album.

Part of the reason that these attempts at explanation fail, I think, is that photographers, like all artists, choose their medium because it allows them the most fully truthful expression of their vision... as Robert Frost told a person who asked him what one of his poems meant, 'You want me to say it worse?'

I've got a canvas, I've got a scene, let’s fill that with sound.

Joanna Priestley’s amazing body of animated films have deservedly earned their place in the pantheon of contemporary international animators. Inventively visioned, superbly crafted, and rich with insight into the physical and spiritual dilemmas that confront us all, each new work provides an unexpected pleasure.

The meaning of quality in photography's best pictures lies written in the language of vision. That language is learned by chance, not system.

It’s not when you press the shutter, but why you press the shutter.

Which of my photographs is my favorite? The one I'm going to take tomorrow.

I do believe strongly in photography and hope by following it intuitively that when the photographs are looked at they will touch the spirit in people.

On digital photography: It's fantastic, but it's not a freebie for anything. You still have to have this (he points to his eyes), and this (points to his heart), and feet.

It's a little bit like talking about the life of writing. The life of writing may be about many things, but it always begins with the writer. With the kernel of an idea, or a character, or an idea or a theme, or even an outcome. But for documentary photographers, photographs begin at that intersection of the real world and the imaginative inner world.

To be able to take my pictures, I have to look, all the time, at the people and places I care about. And I must do so with both ardor and cool appraisal, with the passions of eye and heart, but in that ardent heart there must also be a splinter of ice.