P. J. Harvey 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.

So I try to re-invent my own eye every time I tackle a new subject. But it's hard, because everybody has style. You can't help it.

I'm not an art director; I'm just not. I've always been somebody who has a sensibility that I hope is the same sensibility of others.

In my photography, color and composition are inseparable. I see in color.

Even if it's a song I know isn't gonna do that well, I'm dropping it as a piece of art, so I always want sick visuals to go with it.

We're pretty insane about art direction.

I've always been super into photography and the visuals that support my music.

All our forms are unique - movies, music and literature - and you have to leave the person who is doing it to do their best.

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

It is an illusion that photos are made with the camera... they are made with the eye, heart and head.

I thought that was a pretty stupid argument, really, because it's the final product that matters. The look of the film, however it's done, is still the cinematographer's vision in my mind. People said the same when color film came in, didn't they? The world evolves, and image-making evolves.

Which of my photographs is my favorite? The one I'm going to take tomorrow.

On digital photography: It's fantastic, but it's not a freebie for anything. You still have to have this (he points to his eyes), and this (points to his heart), and feet.

It's a little bit like talking about the life of writing. The life of writing may be about many things, but it always begins with the writer. With the kernel of an idea, or a character, or an idea or a theme, or even an outcome. But for documentary photographers, photographs begin at that intersection of the real world and the imaginative inner world.

Photography is, first of all, a way of seeing.

The majority of (painters), because they aren't colorists, do not see yellow, orange or sulphur in the South (of France) and they call a painter mad if he sees with eyes other than theirs

The important thing is not the camera but the eye.

I used to do jacket design, and I'm very conscious of covers, and probably meddle more than other authors would.

Working with the kind of talent that I've gotten to work with, like the cast of Sin City, it makes me think probably more fully dimensionally about what is going on behind their eyes. But I draw the way I draw, and ain't nothing gonna change that. Although, I draw Marv and I think, "Boy, I could throw a little Mickey [Rourke] in there."

If, while I'm painting, I distort or destroy a motif, it is not a planned or conscious act, but rather it has a different justification: I see the motif, the way I painted it, is somehow ugly or unbearable. Then I try to follow my feelings and make it attractive. And that means a process of painting, changing or destroying - for however long it takes - until I think it has improved. And I don't demand an explanation from myself as to why this is so.

Everything I do with BLK DNM is more personal than anything I have done before. I've worked hard to go deeper in my true intuition, and therefore I am definitely more pure in my personal taste than ever.

The act of making a photograph is less a question of what is being looked at than how.

To make a face from marble means to remove from the slab everything that is not the face

I'm doing more than just making songs for the radio. I want it to be a well rounded sounding experience.

When I am painting I have a general notion as to what I am about. I can control the flow of paint: there is no accident.