The ideas for my books come about in two ways. There can be an intellectual idea that seems to be the reason for writing the book. [...] The other motive is unconscious. There is something deeply psychological and emotional that draws me to the material in the first place.
The idea of discussing psychological and philosophical ideas in a visual medium was really exciting to me. I thought I was going to go into philosophy...and suddenly I found this way to combine that with my love for visual mediums.
So there's a choice that I made to tell stories that are still psychological melodramas about domestic issues. The challenge is to figure out how to make 10 films a career as a filmmaker, and that's a really challenging thing.
I love the psychological thriller piece of it. Because we are trapped in this isolated environment with a deadly virus, what's really interesting is that everyone's darkness comes out because we've got these life-and-death stakes going on. And then, there're these interesting relationships going on, but we can't quite deal with the relationship right now because we've got something better to do, which is survive.
For me, the thing that I love about the show is the psychological thriller aspect of it. It's frightening and it's scary, and there are all these things that happen. You have these really dramatic scenes, and then you get in a scene with him and I can't tell you how many times I would start cracking up.
I'm more into kind of real stories, psychological movies.
I don't watch things like Jeepers Creepers or Final Destination 53 ½. I really like more of the psychological thrillers.
The doctors will treat those of your citizens whose physical and psychological constitution is good: as for the others, they will leave the unhealthy to die and those whose psychological constitution is incurably warped they will be put to death.
Far from being a psychological trait, the spirit of revenge is the principle on which our whole psychology depends.
[The movies] make the sort of comment only a novel can make, an allusion to the world in which people live, the psychological and economic motivations, the influences of the period in which they lived.
You must have the confidence to override people with more credentials than you whose cognition is impaired by incentive-caused bias or some similar psychological force that is obviously present. But there are also cases where you have to recognize that you have no wisdom to add - and that your best course is to trust some expert.
I can't see any hope but a second front. The psychological effect would be great, even if they could not wade all the way to Berlin in 15 to 20 minutes.
The citizen does not so much vote for a candidate as make a psychological purchase of him.
The essential factor in the transition of the baroque to photography is not the perfecting of a physical process... rather does it lie in a psychological fact, to wit, in completely satisfying our appetite for illusion by a mechanical reproduction in the making of which man plays not part. The solution is not to be found in the result achieved, but in the way of achieving it.
Pure photography allows us to create portraits which render their subjects with absolute truth, truth both physical and psychological. That is the principal which provided my starting point, once I had said to myself that if we can create portraits of subjects that are true, we thereby in effect create a mirror of the times in which those subjects live.
I used to think that the causes of war were predominantly economic. I came to think that they were more psychological. I am now coming to think that they are decisively "personal," arising from the defects and ambitions of those who have the power to influence the currents of nations.
...I started photographing myself, and found that I could see portions of myself that I had never seen before. Since I face just my face in the mirror, I know pretty much what it's like. When I see a side-view I'm not used to it, and find it peculiar... So, photographing myself and discovering unknown territories of my surface self causes an interesting psychological confrontation.
The pictures are of a psychological culture, a Jungian culture, if you will. It emanates from my own psyche... It's a hard place to get to, honestly. It has taken me many years to get to that place and to define it visually.
The work all comes from a psychological need. See the images that I make... It's really a psychological need. I'm just jerked around by it. I'm pulled by it.
I think when you're photographing - when anybody's photographing another person in a private situation, it's a kind of a seduction but it's not always a sexual seduction... I feel like when Jack [Welpott] was doing it, it was a sexual seduction and when I was doing it, it was more of a psychological seduction in order to get them to cooperate with me... Not because I wanted them to spread their legs or... be, you know, Wanna sleep with me? , or whatever.
I try to photograph what can't be photographed - psychological or subjective reality, which seems more real than physical or consensual reality.
I have approached the buildings as psychological and poetic manifestations - rather than from the more technical viewpoints of the architect and historian (which mostly miss the living spirit behind the forms).
I started to concentrate more upon how the viewer looks at photographs... I would insert my own text or my own specific reading of the image to give the viewer something they might not interpret or surmise, due to their educated way of looking at images, and reading them for their emotional, psychological, and/or sociological values. So I would start to interject these things that the photograph would not speak of and that I felt needed to be revealed, but that couldn't be revealed from just looking at an image.
Whoever is afraid must needs be dependent; a weak thing needs support. That is why the primitive mind, from deep psychological necessity, begot religious instruction and embodied it in a magician or a priest.
I think what art is always doing is making us see the world so differently, and I don't mean just colors and light, but re-thinking relationships, spatial relationships, psychological relationships ... those who gravitate to the art world actually want to be puzzled.
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