There's something about most phobias where there's a tiny, tiny corner where you think this really actually could happen.
There's a vast encyclopedia of fears and phobias, and pretty much any object, experience, situation you can think of, there is someone who has a phobia of it.
When a role for a young guy is being offered to me, I think of River Phoenix. It feels like a loss.
I loved 'The Master' a lot. I'm not going to get to work with Daniel Day-Lewis, but Joaquin Phoenix is one of the best around, I think.
I would hate now to be married. It does occur to me on occasion that, if I fall and hit my head, there will be no one to make the phone call. But who wants to think about that disaster, I'd prefer not to.
If someone doesn't respond to a phone call, I think they've died.
I certainly think there are some skills we'll lose as we hand things over to automation. I can barely remember my own phone number now, let alone the long list of numbers I used to know, and my handwriting has completely gone to pot.
I don't think people understand the power of social media or our phones.
LA is the only place where people know my name and still walk up to me and ask it. And I think that was really representative of a lot of the transplant people in LA. I just found everything so phoney.
Why do you think the fans like us - why they prefer our street raps over all that phony stuff out there? Because we're telling the real story of what it's like living in places like Compton. We're giving them reality. We're like reporters. We give them the truth.
I don't think there is a single character in 'The Graduate' that is not a phony, to one degree or another, except Benjamin and Elaine, and only in the scenes when they are alone together.
Everybody is watching you every minute anyways. If they think the message you're sending out is phony, they're going to say, 'Who does he think he is?' It's again good business. But it is also an obligation.
I think it does, a little, hurt to be photographed.
There are photographers who don't really engage with their subject. It's a really unfortunate phrase, but they take their photo and they leave with it. It works but I think it ultimately limits how profound the work can be.
A photographic memory, to me, is kind of like brainiac, genius type. I don't think I have that.
Sometimes I enjoy just photographing the surface because I think it can be as revealing as going to the heart of the matter.
I just think it's important to be direct and honest with people about why you're photographing them and what you're doing. After all, you are taking some of their soul.
So I went to Chicago in 1940, I think, '41, and the photographs that I made there, aside from fashion, were things that I was trying to express in a social conscious way.
I'm staying with film, and with silver prints, and no Photoshop. That's the way I learned photography: You make your picture in the camera. Now, so much is made in the computer... I'm not anti-digital; I just think, for me, film works better.
I have equal parts film and digital cameras in my collection. I think that there are ways to Photoshop photos so that they look like you shot them on film, but is that as rewarding? It just depends on the person.
