William Klein Quotes Quotes

Leger was not only the first artist I ever met but also the first pop artist, and he blew our minds.
Memories. That's the thing about photography. I look at the contact sheet, and it brings back everything: whether I was tired, whether I was full of beans.
Most of the other soldiers were older than me and sent money back to their families, so they were more prudent.
My complaint is that Americans drive me crazy, and the politics drive me crazy.
My father was convinced that America was the greatest place in the world. I'm afraid I didn't have the family I would have dreamed of.
My father was like Willy Loman, you know: he never really made it - and he was from a family where there were people who had made it.
My grandfather and his wife came to America at the end of the 19th century from Hungary. Everyone started out on the Lower East Side. They became embourgeoise and would move to the Upper West Side. Then, if they'd make money, they'd move to Park Avenue. Their kids would become artists and move down to the Lower East Side and the Village.
My sister was brilliant: she was in the 25 top math students in the country. When she finished college, I said, 'Spend a couple of months here in Europe. You'll get another take on life.' She never came - married some schmuck who made clothes for fat women on Seventh Avenue.
My way of living and working is that I'll do my thing. I went from one thing to another. That annoyed people. They didn't know how to categorize me.
People didn't object to me taking their photo. It was something everybody thought was their due: to be King for a Day, win the lottery and be photographed.
Photography led me to experiment in graphic work and, actually, painting.
The best critics of America are Americans.
The digital camera takes photographs in practically no light: it will dig out the least bit of light available. I was amazed to see the results of photographs that I wouldn't take ordinarily. That's the advantage of digital photography.
The English are very exotic to me.
The kinetic quality of New York, the kids, dirt, madness - I tried to find a photographic style that would come close to it. So I cropped, blurred, played with the negatives.
This is supposed to be the Big Apple, with neighborhoods where the houses are all good-looking and the skyscrapers and everything. But to me, New York is kind of shoddy and uncomfortable.
What's very funny is when you see amateurs filming something, they do some things no professionals would dare to do. They instinctively do things that are very avant-garde and useful.
When I made 'Polly Maggoo,' it was more or less the end of this collaboration with 'Vogue' because I made a caricature of the editor-in-chief and the fashion people, so they didn't really adore me.
When I was a kid in New York, long before saturation sports coverage, the world heavyweight championship was, with the baseball World Series, the great national event.
When you use film, you use accidents, but there aren't any accidents with digital photography. I don't mind that it's easy. But I do mind that there is a sort of consensus with the camera and the subject and the light, and you look at something, and you photograph it, and you get what you see.
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AuthorName
William Klein
Profession
Photographer
BirthDate
19 April, 1928
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