Freddie Gibbs Quotes

Making the 'Sulfur' video continued our quest to make a video different and visually stimulating.

I do believe architecture, and all art, should be content-driven. It should have something to say beyond the sensational.

With Lady Gaga I really stretched myself as a creative director, and because I was with this artist from before she got signed I was able to really take control of the opportunity and execute as a creative director.

As a director, I love being able to really be a contributing factor to the overall vision of a project.

I love directing my music videos and writing video treatments, and I think it's all just because I love the visual aspect of it as well.

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.

The thing is, as a film director, you're essentially alone: You have to tell a story primarily through pictures, and only you know the film you see in your head.

The visual architecture of 'Biutiful' is the most sophisticated of all the films I have directed.

Image plays a huge part in my music and in my lifestyle.

It was by design that we mostly used pictures that you could not necessarily see what was going on, and that didn't really focus in on the band, but instead focused in on a theme.

I definitely managed to do different kinds of things. My focus is usually who the director is, because at the end of the day the director is the storyteller, what the movie is all about. I don't want to participate in something that I don't think is constructive storytelling.

It's tough as an artist to have such a specific vision for your video in mind when you write a song. Reaching out to directors is like going on blind dates and trying to find someone who sees the exact vision behind your music, which can be really difficult.

I'm not an artist who has an agenda that's set by the work.

I always say I make pictures rather than take pictures.

Many photographers feel their client is the subject. My client is a woman in Kansas who reads Vogue. I'm trying to intrigue, stimulate, feed her. My responsibility is to the reader. The severe portrait that is not the greatest joy in the world to the subject may be enormously interesting to the reader.

On a Terrence Malick set, your thoughts are his voice. You think you're thinking, but actually he's thinking for you. He speaks to you, and he's the voice in your mind.

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.

You need these experiences. Just know that sometimes, the director has a specific look in mind.

I love telling stories with images. But I think there's more to just saying a movie is great visually.

I wanted to make pictures where you would not know who took them. I also bring the present into the past.

Madonna, I think, is the greatest visual musical artist that we've ever had. If you look at her photo log, the photographers that she was able to work with throughout her career framed her in the proper way. It was the proper context. It was that visual that made sure that everything was gonna cut through in a certain way.

I'm a really artistic person, and so, with the live stuff, there's a lot that I think is really cool. Beyonce and Rihanna have all these dancers. So with the live costumes and video costumes, I'd really like to have my vision. The way that I want people to dress is very specific. I love fashion.

We're pretty insane about art direction.

Our style, in one word, the Image guys, our approach to the page was bold.

In all my films, I have tried a different look.