It's fundamental to succeed in coming into contact with your subject. Whether it's a big Hollywood star or a passer-by in the street, it makes no difference.

I have a genuine philosophy. I do not want to make negative pictures about people, and so I do everything I can to help make them feel comfortable in front of the camera. That is what is going to control your picture, because you are alone if your subject is not with you. And that's the simple answer to getting a good picture.

The misfortune is that many people, men and women, think that the perfect face has no flaws, no pores in the skin; and that gives unrealistic levels of esteem. Somebody feels they're not right because they haven't got that type of refinement.

I always considered, with every shoot, I was on trial; every time I pick up my camera and start out on the relationship, I am at degree zero. There is no coasting.

Musically, swing pretty much dominated in the '30s. And into the late '30s, swing is beginning to change over to bebop in the early '40s, which is exactly when this new science of theoretical physics, particularly theoretical atomic physics, was really coming to the fore.

I found it very easy to transform into creeps and weirdos and losers and goof-balls, and I'm happy to play eccentric kinds of characters, and I have a great affinity for the outsider, but I definitely am about expanding my range as well.

If I had to probably define and characterize my job, and maybe the job of a CEO today in this global world, highly volatile, uncertain, and when you need to transform is to be the catalyst for change. That's probably the definition I would give to my job. I'm the catalyst.

As the world we live in is so unpredictable, the ability to learn and to adapt to change is imperative, alongside creativity, problem-solving, and communication skills.