Michael Jackson was the biggest star the world has ever seen - he put so much into everything; a lot of attention to detail. I want to do that. I want to pay that kind of attention to detail in everything - in music, visually - all of that.
Finding your style is like putting puzzle pieces together.
I'm a director because I directed a movie. And if I have any advice for people, it's, 'Go write something; go direct it. If that's what you have a desire to do, go do it. If the movie stinks, just put it on the shelf and try to do it again.'
I have been fully involved in designing my stage shows; it's important to me to do something really unique and almost off-the-wall to bring the music and the visuals together. I love design and actually went to school for a bit for graphic design, so it isn't so much 'pressure' for me; it's a way to be creative, and I really enjoy it.
Photography is like fencing. You must keep your distance, wait, and then thrust.
I enjoy scenes in films, which do not have the pressure of the story so much... and it flows. I've tried to go in that direction.
I hope readers will think that 'The Thing About Life' is beautifully patterned, a tapestry.
Design has always been a driving force in my life: it's the lens through which I experience the world.
I always loved watching movies because I loved what certain moments inside of films did to me.
Art is the provocation for talking about enigma and the search for sense in human life. One can do that by telling a story or writing about a fresco by Giotto or studying how a snail climbs up a wall.
I am following Nature without being able to grasp her, I perhaps owe having become a painter to flowers.
I was influenced by people like David Fincher and William Friedkin, and these directors who kinda paint their films with these dark shades.
Every great film should seem new every time you see it.
When a filmmaker tries to make a good film and if he gets success in that then definitely it's a nice feeling.
The appeal of cinema lies in the fear of death.
I make movies that audiences like, that I'd want to see. That's all.
When I was younger, I was fascinated by David Bowie, for example. he had created an entire myth around himself. It was as important as his music.
I think one of the things that will really surprise people about 'See No Evil 2' is the fact that its so beautifully shot. It's really a pretty movie.
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.
I've been a visual artist my entire life, so translating music to imagery has always come naturally to me. Tycho is an audio-visual project in a lot of ways, so I don't see a real separation between the visual and musical aspects; they are both just components of a larger vision.
I have three assistants, but there isn't a head assistant. All the important drawings I do myself. Every single character is also done by me.
Acting is fantastic, but to be able to create a whole world on celluloid is amazing. It's like taking your dreams straight from your head and projecting them onto a screen.
I've never looked at film-making as a career. I've looked on film-making as an adventure. When you come down the mountain, you get ready to climb again.
When I directed the third 'Insidious' film I loved it so much that I decided this is what I want to do from now on. I don't even think I would write something as a screenplay now with no intention of directing it.
In Hitchcock's eyes the movement was dramatic, not the acting. When he wanted the audience to be moved, he moved the camera. He was a subtle human being, and he was also the best director I have ever worked with.
