“The camera is no more an instrument of preservation, the image is.”

Photography helps people to see.

The photographer creates, evolves a better, a more selective, more acute seeing eye by looking ever more sharply at what is going on in the world.

I haven’t seen too many images that have impressed me!

Suppose we took a thousand negatives… combining the elegances, the squalor, the curiosities, the monuments, the sad faces, the triumphant faces, the power, the irony, the strength, the decay, the past, the present, the future of a city – that would be my favorite picture.

The photograph may be presented as finely and artistically as you will, but to merit serious consideration, must be directly connected with the world we live in.

To chart a course, one must have a direction. In reality, the eye is no better than the philosophy behind it. The photographer creates, evolves a better, more selective, more acute eye by looking ever more sharply at what is going on in the world.

The lens freezes time and space in what may be an optical slavery or, contrarily, the crystallization of meaning. The limits of the lens’ vision are esthetically often a virtue.

Photography was the medium preeminently qualified to unite art with science. Photography was born in the years which ushered in the scientific age, an offspring of both science and art.

The more you do, the more you realize there is to do, what a vast object the metropolis is, and how the work of photographing could go on forever.

I’m not a nice girl. I’m a photographer.

Photography can never grow up if it imitates some other medium. It has to walk alone; it has to be itself.

Let us first say what photography is not. A photograph is not a painting, a poem, a symphony, a dance. It is not just a pretty picture, not an exercise in contortionist techniques and sheer print quality.

I agree that all good photographs are documents, but I also know that all documents are certainly not good photographs.

Photography doesn’t teach you to express your emotions; it teaches you how to see.

I believe there is no more creative medium than photography to recreate the living world of our time. Photography gladly accepts the challenge because it is at home in its element: namely, realism – real life – the now.

You scientists are the worst photographers in the world and you need the best photographers in the world and I’m the one to do it.

I accept all interpretations of my films. The only reality is before the camera. Each film I make is kind of a return to poetry for me, or at least an attempt to create a poem.

I am in love with the idea of doing a movie in 3D. I think 3D would be great for the story I want to do, in a realistic, normal story, using 3D on the emotions in a kind of intimate story.

What the human eye observes casually and incuriously, the eye of the camera (the lens) notes with relentless fidelity.

I’m very in love with the fact that the camera is revolted by acting and loves behaviour.

It really is a pleasure to work with someone who you admire. Whatever you do in front of the camera, and I don’t know what it is, but actors have this thing that you recognize someone that makes you better. When you do that, it’s a great feeling.

I generally prefer to stay quiet before a performance. I don’t like television cameras, but an interview is OK.

I had no education in filmmaking. I started with a 8mm camera. I made 34 films, and little by little I gained more experience in filming.

I’ve fallen down crevasses, been bitten by snakes, been knocked unconscious, had various limbs broken and once, a heavy camera came plunging down which very nearly decapitated me.