To be an artist or a writer is to be this weird thing - a hand worker in an era of mass production.

When Cartier-Bresson goes to China, he shows that there are people in China, and that they are Chinese.

Now the new things happening in France don't interest me.

Our very sense of situation is now articulated by the camera's interventions. The omnipresence of cameras persuasively suggests that time consists of interesting events, events worth photographing. This, in turn, makes it easy to feel that any event, once underway, and whatever its moral character, should be allowed to complete itself - so that something else can be brought into the world, the photograph.

You can go into all sorts of situations with a camera and people will think they should serve it.

Creativity needs to be taken care of. It's like a big baby that needs to be nourished.

Is it the obligation of great art to be continually interesting? I think not.