Hamish Bowles Quotes

When the director has a vision for a piece that I've never heard before, and they can back that up with visuals, and they talk a good game, I get really interested in the world that they're trying to create.

I love reading different scripts and helping create different looks, different environments. Sometimes you go to meet a director over a particular script, and they'll say, 'I want you to do this because I want it to look like Shawshank,' and I'm like, 'Well, I'm not that interested in doing that again.'

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.

One of the things I've learned from animation is that some guys are really good at writing, some guys are really good at design, some guys are really good at directing. It's almost like working in a band - not everybody plays every instrument.

I like to be involved with the scriptwriter early on, helping shape the story, and working out how the story can be told directorially.

It's always an amazing gift to be able to work with storytellers who 'get it' and who can not only draw anything but can draw it better and more dynamically than you'd ever envisioned.

I love working with a set designer because, in many respects, you meet the set designer before you meet the actors. So it's a chance for me as a director to figure out what I'm thinking and to explore how the space is going to actually be activated.

But the best part about being actors and married to each other is that you can discuss work and take feedback from each other.

The way it works in commercials is they come to you with the script, and then you do the visual, you do the storyboards, and you give your vision of it, but it's very much their baby. You just kind of put your polish and sheen on it and your interpretation of it, but it's very much the agency's idea.

I just try to direct in a way that interests me. And, hopefully, other people will find it compelling.

I like working with directors I respect, who give me freedom but also give me a good base from which to work.

I love working with actors. I love visual things. I always intended to be a writer who directs and a director who writes.

The desire to discover, the desire to move, to capture the flavor, three concepts that describe the art of photography.

You're collaborating with people you don't even know, when you're making a film. You're collaborating with people you've never seen. So, the collaborative process is very, very different than when you're collaborating on a record with the musicians you've worked with all your life.

Making a movie is the same as an orchestra; it's moving all the different instruments and the sounds, the kinetic and the auditory and the visual all together. I'm probably the trombone.

I remember Grace (Coddington) looking at me and said, 'Can you do something?' and I was like, 'OK, how long do you give me?' and she said 'Half an hour?', I said 'Forty-five minutes?'

I'm a very creative person, and you know when I hooked up with Benny Boom, I said I want it to be a different kind of video. I want it to be crisp, and I want it to relate, [and] not to be so far over people's heads. And that's when we came up with the p-t-d-d-d-d-d (camera flashes.) You know with the picture changing, and that's it.

I'm learning about filming, and just conceptualizing as well. I think it's a good artistic inroad, even to music as well.

Filmmaking is a creative process so there is a lot of collaboration that happens on set between an actor and director, but at the end of the day, we're there to actualize the director's vision and things happen organically.

If you look at any great fashion photograph out of context, it will tell you just as much about what's going on in the world as a headline in the New York Times.

We're making so many images today and it's unbelievable. I shoot stuff all the time. I try to figure a lot out before I paint. I do a tremendous amount of shooting.

I think every time you take on a new role, you're trying to help find that voice and you add your own bits and pieces along the way but with Noah [Baumbach] it's already done.

I believe that photography can create great works of art, but hitherto it has been extraordinarily bourgeois and babbling. (1908)

With movies and TV, storytelling, it's a different medium. I really love it, but I'm one part of many, many pieces of that puzzle and a lot of it is out of my control.

When you're a director, you have great respect for directors. I am really pretty loyal to any director that I am working for and I want to help them realize whatever story and mood and tone that they're trying to realize. As an actor, you really just are a cog - you are an important cog, but you are just a piece of the machine.