Anouska Hempel Quotes

I believe in sketching because there is something very sensitive in sketching, you know, in sketches that you don't have out of a computer that looks the same like everybody even if, later on, the dresses are OK, but I like to sketch, and I like to see trails made after my sketches that look the same. It is you know, what I like.

Every home, office, club, yacht, landscape, or piece of furniture I may design will be different from the other. What will be consistent, however, is my own personal sense of style through it all.

When I design something, I think of it as a gift to somebody else.

I have a way of filming things and staging them and designing sets. There were times when I thought I should change my approach, but in fact, this is what I like to do. It's sort of like my handwriting as a movie director. And somewhere along the way, I think I've made the decision: I'm going to write in my own handwriting.

Create your own visual style... let it be unique for yourself and yet identifiable for others.

When I sang, I couldn't help making those little curves. People would say, 'Why don't you sing straight?' But I have always had to put something in.

This is my real concern: to give each film a unique individuality.

I really am in love with the idea of an artistic signature.

Pyrex Vision's first season was, for me, an expression of myself as an artist first, designer second.

All great chefs have two things in common. First, they respect nature as the true artist, and they are just cooks. Second, everything that they do is an extension of them as a person.

Some directors are like poets.

I think of all my movies as home movies! It's just that some are more expensive than others.

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

A photograph is not an accident - it is a concept.

I just try to make comics for myself, try to give it some kind of unity throughout. That often involves tiny details. I'm never sure what's going to be obvious or what nobody will ever notice. I put stuff in my comics that I thought was blatantly obvious, and nobody noticed. And things that I think are buried in the background, everybody gets it. So I try to be consistently aware of every part of the frame.

I believe that the medium of photography prevails entirely as an act of faith in the souls of those who love and practice it. And so every photograph becomes another subtle variation on the theme of the medium itself.

The challenge for me has first been to see things as they are, whether a portrait, a city street, or a bouncing ball. In a word, I have tried to be objective. What I mean by objectivity is not the objectivity of a machine, but of a sensible human being with the mystery of personal selection at the heart of it. The second challenge has been to impose order onto the things seen and to supply the visual context and the intellectual framework - that to me is the art of photography.

I am sometimes accused by my peers of printing my pictures too dark. All I can say is that it goes with the mood of melancholy that is induced by witnessing at close quarters such intractable situations of conflict and joylessness.

Art is the clothing of a revelation

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.

It was from the artists and poets that the pertinent answers came, and I know that panic would have broken loose had they been able to compare notes.

I never think of myself as a celebrity - or even an actor, actually. I think of myself as a writer-director.

I want to be remembered much more by a total vision than a few perfect single pictures.

Photography... is either an expression of a cosmic vision, an embodiment of a life movement or it is nothing - to me. (1919)

One view of photography is that it is a zen-like act which captures reality with its pants down - so that the vital click shows the anatomy bare. In this, the photographer is invisible but essential. A computer releasing the shutter would always miss the special moment that the human sensibility can register. For this work, the photographer's instinct is his aid, his personality a hindrance.