Neill Blomkamp Quotes

A photograph is usually looked at - seldom looked into.

I don't think I treat my film work as an extension of my photography. There are two different sets of rules there.

I believe in the relation between photography and music; And thats my inspiration.

Photography is simultaneously and instantaneously the recognition of a fact and the rigorous organization of visually perceived forms that express and signify that fact

There are always two people in every picture: the photographer and the viewer.

I go and see anything that's visually new, any technology that's about picture-making. The technology won't make the pictures different, but someone using it will.

Photography helps people to see.

I'm an image-maker.

Painting, music, photography, and visual art have been creative forms of expression for me for decades.

I have more of a relationship with the subject than I do with my camera equipment. To me, camera equipment is like a tin of shoe polish and a brush - I use that as a tool, but my basic camera is my emotion and my eyes. It's not anything to do with the wonderful cameras I use.

I started shooting pictures because I had all these photographers around me, and life was kind of boring creatively because you play the same songs every night. So I looked for another outlet, and I started shooting.

You see what you think, you see what you feel, you are what you see If with the camera you can make others see it - that is photography.

If I have an idea I want to put in a movie, I know what camera will make that look best, and I have ideas for future projects and stuff I'd like to build for those. I think it's just part of how I work, though.

I so love the animation process. Interesting, everything that I do in animation, the kind of crafting and skills of storytelling, totally work within the structure of the Disney nature films. In a weird way, I like to think that animation is like painting, and Disney nature is like sculpting. Animation you start with a blank canvas and you paint. With Disney nature, you start with a big block of imagery and you hone it down into your final story. Somewhere you end up with something kind of pretty to watch.

And that desire-the strong desire to take pictures-is important. It borders on a need, based on a habit: the habit of seeing. Whether working or not, photographers are looking, seeing, and thinking about what they see, a habit that is both a pleasure and a problem, for we seldom capture in a single photograph the full expression of what we see and feel. It is the hope that we might express ourselves fully-and the evidence that other photographers have done so-that keep us taking pictures.

The camera is simply not the supple and powerful instrument of description that the pen is.

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

When I was working with Robert Frank, he told me that there was absolutely no relationship between cinema and photography. I challenge that. Surely what you know as a photographer must impact how you set up your shots.

Photography is a kind of overstatement, a heroic copulation with the material world.

I often think we do not take this business of photography in a sufficiently serious spirit. Issuing a photograph is like marriage: you can only undo the mischief with infinite woe.

I can't tell you how many pictures I've missed just 'cause I've been so hell bent on getting the shot I think I want.

You think you photograph a particular scene for the pleasure it gives. In fact it's the scene that wants to be photographed. You're merely an extra in the production.

Only about one per cent of my paintings show family members. Do they help me deal with problems? It's likely that these problems can only be depicted. But photographs, private ones and others, keep appearing that fascinate me so much that I want to paint them. And sometimes the real meaning these images have for me only becomes apparent later.

In reality some images or drawings have a greater impact than many buildings that are built.

Photography is solitary and there are lags between seeing with your eyes and seeing through the lens, and then seeing the image on your computer... I often see things after the fact. So there’s a revelatory quality. And this definitely includes a sense of playfulness, because you’re not sure what the consequences are going to be.