Robert Henri Quotes

I can use movie as a language. Not only could it send a good message, I could let people know about my thinking and how I see the world, how I see the colour, how I see the music, how I see everything.

If you find an idea without form, please let me know because I would love to take a picture of it.

I would photograph an idea rather than an object, a dream rather than an idea.

In a portrait, you have room to have a point of view and to be conceptual with a picture. The image may not be literally what's going on, but it's representative.

No amounts of stone and bone could yield the kinds of information that the paintings gave so freely.

In photo shoots, I rely on instinct. Which is not to say I don't bring ideas to a project or consider it beforehand.

I always knew I wanted it to be illustrated.

My memory of those places is better than my pictures. That's why I get much more satisfaction out of shooting thematic work that has to do with an idea that I'm searching for, or searching to express.

I refer to what I do as 'conceptual portraits,' meaning that I come up with an idea or concept that I would like to explore, and then I find people that fit that idea.

The landscape is like being there with a powerful personality and I'm searching for just the right angles to make that portrait come across as meaningfully as possible.

I wanted to communicate what I had seen, so that others could see it.

A great photograph is one that fully expresses what one feels, in the deepest sense, about what is being photographed.

Like a monument, a great cartoon can render a complex idea in a single thrilling and grand summation. Unlike a monument, it is also able to illustrate processes and systems – cause and effect, unintended consequences and the like.

Film as a medium, like a novel as a medium, possesses a unique ability to communicate. Film is capable of communicating in a way that no other medium can, and I would say the same for the novel.

A movie is like a city. There's, like, 150 people working, and it's all because of something that came out of your head.

You don't eat a painting of an apple; you don't find it morally good. Instead, it tells you something strange about apples in themselves.

I would say my favorite is probably the 'Colder' video. Just because that sort of brings the album artwork to life. It's not my favorite song on the album, but visually, I think it just came out exactly how I had it in my head.

One of the reasons that DC, Marvel, and other comic book companies have always asked me to do covers and variant covers is because they know that when they tell me 'icon,' I jump over their words, and I give them an iconic cover - but while I'm doing it, there is going to be an idea there.

I look at my body as an extension of the music. My body is a canvas, and with my tattoos, I want them to be a direct reflection of my thoughts.

My approach to portraiture is conceptual.

Moving pictures can be and will be new and fresh and exciting as long as there are ideas and talent in the world.

I hope to do a visual for every 
single thing, even if it’s as small as a gif or as big as a whole dance music film.

I always wanted to photograph the universal subjects.

I've been compiling a list of art project ideas for a long time. These are ideas of things I would love to see someday. They range from the practical - jackets with woodstoves in them - to the sublime - images of nuns on waterslides.

Photography is not cute cats, nor nudes, motherhood or arrangements of manufactured products. Under no circumstances it is anything ever anywhere near a beach.