Advertising is the art of the tiny. You have to tell a complete a story and deliver a complete message in a very encapsulated form. It disciplines you to cut away extraneous information.
Many claim I am a photographer of tragedy. In the greater sense I am not, for though I often photograph where the tragic emotion is present, the result is almost invariably affirmative.
But everyone cannot be there, and that is why photographers go there - to show them, to reach out and grab them and make them stop what they are doing and pay attention to what is going on - to create pictures powerful enough to overcome the diluting effects of the mass media and shake people out of their indifference - to protest and by the strength of that protest to make others protest.
...Let's get to the image as quickly as possible, let's get to the message even faster, and let's find the scale to knock you over the head with the image and the message.
Cinema has the capacity to be so physiological.
One thing I learned working at magazines was that if you couldn't get people to look at a page or a cover, then you were fired. It was all about how you create arresting works, and by arresting I mean stop people, even for a nano-second.
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.
The great movies and the great commercials always work on every single level.
For me, art has to have two things to really blow me away: a strong concept and drama.
A truly great magazine cover surprises, even shocks, and connects in a nano-second.
