Lee Bermejo Quotes

I think a photograph, of whatever it might be - a landscape, a person - requires personal involvement. That means knowing your subject, not just snapping at what's in front of you.

My forms are not abstractions of things in the real world. They're also not symbols. I would say that my job is to invent these forms and to put them together in a way that keeps your interest, to give the forms a quirky identity so you can engage with them, so you realize there's an inner intelligence or logic.

This is what I like about being a designer: You can't really get it until you see it.

Nobody will ever notice that. Filmmaking is not about the tiny details. It's about the big picture.

Of course, it may be that the arts of writing and photography are antithetical. The hope and aim of a word-handler is that he maycommunicate a thought or an impression to his reader without the reader's realizing that he has been dragged through a series of hazardous or grotesque syntactical situations. In photography the goal seems to be to prove beyond a doubt that the cameraman, in his great moment of creation, was either hanging by his heels from the rafters or was wedged under the floor with his lens in a knothole.

I am very much aware of the visual side of things. I do a lot of photography. I often take Polaroids of things that strike me as visually interesting, just to remember them and perhaps use later.

I try to make pictures I would want to see.

I'm like the painter with his nose to the canvas, fussing over details. Gazing from a distance, the reader sees the big picture.

One of the things I think about as I've evolved as an architect is, 'Where do the poetic impulses come from?'

You keep on balancing and balancing and balancing until the picture wins, because then the subject's turned into the picture.

I always say I make pictures rather than take pictures.

Making a movie and not directing the little moments is like drinking a soda and leaving the little slurp puddle for someone else.

So much of art-making is about reducing things to the essentials, so I don't feel particularly crippled by this. I don't want it to look natural because then I would be making a documentary film.

Every shot is unique, even if it's just a close-up, an insert of your hand. You've got to work with the guy behind the lens to get it right, focus in. Those are critical little nothing things, but you've got to work with the people who are trying to put it down, in order to get it.

I always try hard to arrange all media in a way so that it expresses what I want - this is not limited to one medium alone and varies from case to case.

So to me it's very similar in terms of trying to distill within the image, those elements that are gonna form, hopefully, a compelling visual statement.

I influenced the BG style by not being able to draw perspective. The BG artists developed cool graphic painting styles to make my bad backgrounds look like they were that way on purpose.

It is not altogether wrong to say that there is no such thing as a bad photograph - only less interesting, less relevant, less mysterious ones.

You don't take a photograph, you make it.

Providing, meaning to a mass of unrelated needs, ideas, words and pictures - it is the designer's job to select and fit this material together and make it interesting.

Everything I do, whether it's producing or signing an artist, always starts with the songs. When I'm listening, I'm looking for a balance that you could see in anything. Whether it's a great painting or a building or a sunset.

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

To me, that is the essence of me as a photographer. It is those ideas, working with them, formulating them and eventually putting them down on paper, photographing them and then going on to the next step.

I'm here to make good pictures. If I don't see it, I won't touch it. I may not make a good picture, but I still gotta believe in it!

It's something that I've always been attracted to, that idea of letting everything happen in a single frame.