I realized all of the possibilities that could exist for me with my camera: all of the images that I could capture, all of the lives I could enter, all of the people I could meet and how much I could learn from them.
Mary Ellen MarkRead
As a kid, I used to dream about airplanes before I ever flew in one. I really knew, when I started photographing, I wanted it to be a way of knowing different cultures, not just in other countries but in this country, too, and I knew I wanted to enter other lives. I knew I wanted to be a voyeur.
Interpretation
The quote reflects the desire to explore and understand different cultures through the medium of photography.
Mary Ellen Mark's quote emphasizes the transformative power of photography as a tool for cultural exploration and personal connection. She expresses how her childhood dreams of flight align with her passion for capturing diverse lives and stories, highlighting a deep sense of curiosity and the desire to engage intimately with the world around her.
In practice
In a speech about the importance of cultural understanding, one might use this quote to emphasize how art can bridge different worlds.
I realized all of the possibilities that could exist for me with my camera: all of the images that I could capture, all of the lives I could enter, all of the people I could meet and how much I could learn from them.
I think you have to have a real point of view that's your own. You have to tell it your way. And, I think that it's a mistake to shoot for a specific magazine's point of view because it's never going to be as good. You have to shoot for yourself and photograph [ the way] you believe it.
I think you reveal yourself by what you choose to photograph, but I prefer photographs that tell more about the subject. There's nothing much interesting to tell about me; what's interesting is the person I'm photographing, and that's what I try to show. [...] I think each photographer has a point of view and a way of looking at the world... that has to do with your subject matter and how you choose to present it. What's interesting is letting people tell you about themselves in the picture.
I could spend my whole life photographing circuses. They combine everything I'm interested in - they're ironic, poetic, and corny at the same time. There's also something about a circus that's magical, sentimental, and almost tragic, like a Fellini film.
I want my photographs not only to be real but to portray the essence of my subjects also. In order to do that, you have to be patient.
I saw that my camera gave me a sense of connection with others that I never had before. It allowed me to enter lives, satisfying a curiosity that was always there but that was never explored before.
Pick up a camera. Shoot something. No matter how small, no matter how cheesy, no matter whether your friends and your sister star in it. Put your name on it as director. Now you're a director. Everything after that you're just negotiating your budget and your fee.
The play is done; the curtain drops,_x000D_ _x000D_ Slow falling to the prompter's bell_x000D_ _x000D_ A moment yet the actor stops_x000D_ _x000D_ And looks around to say farewell.
Art is violent. To be decisive is violent. ... To place a chair at a partial angle on the stage destroys every other possible choice, every other option.
In my low periods, I wondered what was the point of creating art. For whom? Are we animating God? Are we talking to ourselves? And what was the ultimate goal? To have one's work caged in art's great zoos - the Modern, the Met, the Louvre?
I spent lunchtime in a grave during the filming of 'Bloody Mama.' When you're younger, you feel that's what you need to do to help you stay in character. When you get older, you become more confident and less intense about it - and you can achieve the same effect.
Cinema is not about format, and it's not about venue. Cinema is an approach. Cinema is a state of mind on the part of the filmmaker. I've seen commercials that have cinema in them, and I've seen Oscar-winning movies that don't. I'm fine with this.
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