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My job as a portrait photographer is to seduce, amuse and entertain.
But short films are not inferior, just different. I think the short gives a freedom to film-makers. What's appealing is that you don't have as much responsibility for storytelling and plot. They can be more like a portrait, or a poem.
Every time I want to impress someone about samples and hip-hop, I play 'Portrait of Tracy.' It's one of the greatest bass players ever doing a whole composition with only the two harmonics of electric bass; then a three-second loop in it became every great R&B song in five-year intervals.
I've always had a healthy disregard for authority - it allows me to do my job as a portrait photographer and not as someone who is playing the power game.
It may seem unfashionable to say so, but historians should seize the imagination as well as the intellect. History is, in a sense, a story, a narrative of adventure and of vision, of character and of incident. It is also a portrait of the great general drama of the human spirit.
Every portrait that is painted with feeling is a portrait of the artist, not of the sitter.
My films are never about what Hong Kong is like, or anything approaching a realistic portrait, but what I think about Hong Kong and what I want it to be.
It took the Metropolitan Museum of Art nearly 50 years to wake up to Pablo Picasso. It didn't own one of his paintings until 1946, when Gertrude Stein bequeathed that indomitable quasi-Cubistic picture of herself - a portrait of the writer as a sumo Buddha - to the Met, principally because she disliked the Museum of Modern Art.
The progression of roles you take strings together a portrait of an actor, but it's a completely random process.
For years, I've had a hankering for the portrait of Benjamin Franklin by Joseph Duplessis. Franklin is credited with so many inventions: the postal system, lightning rods, the constitution. He was a rock star before there was such a thing.