Tim Hetherington Quotes

Film has the potential of allowing me to explore my own ideas, which I find very attractive.

The whole point of animation to me is to tell a story, make a joke, express an idea. The technique itself doesn't really matter. Whatever works is the thing to use.

The precision of hisskill places his work beyond the tentative and the experimental stage. He is continually searching and exploring both himself and his surroundings. and in this exploration of the realm of places, people and things, contrasts and relationships, Callahan is no respecter of conventional technical formula or code. His delicate sense of pattern is an integral part of his photography and not a thing by itself.

I've been obsessed with this kind of visual storytelling for quite a while, and I try to create material that allows me to explore it.

My visual medium is my videos, and I've got to feel as though I can put my truth in that.

Part of the reason I make things realistic is, I don’t really want to have to explain my work. What I wish to communicate is done so people can make their own interpretation, and if it’s different to my idea it doesn't matter.

There are an awful lot of people in the world and it's going to be terribly hard to photograph all of them... It was my teacher Lisette Model who finally made it clear to me that the more specific you are, the more general it will be.

Sometimes you need to transport your idea to an empty landscape and then populate it with fantastic looking people.

I didn't have any set idea of what kind of filmmaker I wanted to be. I knew I wanted to tell stories that meant something to me, but I never said I was going to be the weird, avant-garde guy.

I enjoy the drawing more than the writing, so I try to think of ideas that will allow me to develop the visual side of the strip as fully as possible.

Jean Renoir once suggested that most true creators have only one idea and spend their lives reworking it, but then very rapidly he added that most people don't have any ideas at all, so one idea is pretty amazing.

If in making a picture you introduce two ideas, you weaken it by half-if three, it weakens by compound ratio-if four, the picture will be really too weak to consider at all and the human interest would be entirely lost.

I achieved perfection, my type of perfection - visual storytelling. Storytelling was my style.

Those of us who make films try to make something that we're feeling and that we would like. Then we just hope an audience responds the same way. It's very important to have the electrical circuit made, but I don't have control over how people feel when they flip the switch. So the whole idea of marketing research and test screenings is just foreign to me.

Always remember to make room to shoot what you love. It's the only way to keep your heart beating as a photographer.

I think art is the ability to change people with your work, to see things as they are and then create stories, images, and interactions that change the marketplace.

I hope I will always have the ability to create art and live in a world where I can speak freely, and I can inspire people. I don't know what form that will take.

I'm a filmmaker, I'm a storyteller, an entertainer, if you will, so what can I do to participate? Well, I'm not a scientist; I'm not an expert on environmental law; I'm a guy that can tell stories. So I always look for a way to communicate ideas and help to spread excitement for change.

Art makes better humans, art is necessary in understanding the world and art makes people happy. Undeniably, art is not optional.

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 camera can be a machine gun, a warm kiss, a sketchbook. Shooting a camera is like saying, Yes, yes, yes. There is no maybe. All the maybes should go in the trash.

Animation can explain whatever the mind of man can conceive.

I want people to have their own visions for the dance. Some generations will sit back and relate to the music. And the young people ...they'll have the dance right in front of them.

I think that, especially with cable, it's an avenue to be creative. I think why people are drawn more now to cable shows than ever is that they take more risks, they're creatively pushing the envelope. I think that the networks have to answer to a bigger advertising calling, whereas the smaller cables have lower ceilings that they can bump their heads on.

Whatever field you can do that, that's where you want to do it, and I think that's why people like David Fincher and Ridley Scott are interested in it, too, because when you sit down on a meeting in HBO and they're like, "More, more." You're just like, "Oh yeah, I love this." Sometimes it's a little harder in film. I think also it's a great audience, take advantage of it. It's a great audience.