Steven Sebring Quotes
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I thought about how to film something, how to take pictures of it and how to mix it all together. And I was getting that through Patti [Smith] - because she takes pictures, performs, writes; she does so many things, and that was a big inspiration to me. It helped me realized that I'm not just a fashion photographer. I wanted to do all these other artistic things as well, and during filming my mind opened up to those possibilities.
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Many of my family members are teachers in the arts, and I picked up the camera years ago, in high school.
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I didn't do well in high school, but I took photography, and I loved being able to capture moments.
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It took 12 years to put this film [Dream of Life] together, but it was not until toward the end of those 12 years that I looked at Patti [Smith] and said, "Maybe we should do something with this footage."
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For me to see the film [Dream of Life] on a big screen - it's pretty extraordinary.
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I didn't do well in high school, but I took photography, and I loved being able to capture moments. It led to more and more photography, and fashion was the angle into photography for me. It was incredible to see photographs by Irving Penn or Helmut Newton. I was really intrigued by that, and that's what led me to New York City.
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For me, moving from photography to film was very easy.
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Hopefully I can inspire lots of people to learn about [Patti Smith], to read poetry or learn about William Blake or Arthur Rimbaud.
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Ultimately, the film [Dream of Life] is inspirational.
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We were just hanging out and getting to learn about each other. But I think trust was a really big thing. Patti [Smith] is a good friend, somebody I can talk to.
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When I went to Detroit, I was very naïve, actually, and I think Patti [Smith] picked up on that quite quickly.
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I think those moments in Patti's [Smith] bedroom really helped the film [Dream of Life] out, and those moments existed because of the trust between us. There isn't any real self-consciousness in the film because we all like each other.
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I came up with more money, took all the footage, got a great editor and made this film [Dream of Life]. But I really didn't go into it with the intention of making a movie.
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I was making a film [Dream of Life] about Patti [Smith], but I was taking pictures, too.
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Sometimes my fashion pictures can look a little bit like documentary style pictures. So having a camera in my hand was normal.
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I remember when we were at Sundance, we were in Robert Redford's screening room, and I had never seen the film look so beautiful or sound so great. It was really big and really powerful, and I had a sense of accomplishment in finishing a project like this.
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A lot of times I had footage that didn't have sound [in the Dream of Life film] - either I didn't bring a sound recorder, or I forgot to turn on the sound recorder - so we would have to improvise and build those scenes.
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When I started photographing Patti [Smith], I knew that there wasn't a whole a lot of information out there about her. I was periodically interested in films, and so I just kept asking her if I could come around.
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She let me in during her tour, in London. Her band members - especially Lenny Kaye - were shocked at the fact that I was filming Patti [Smith].
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At the beginning I didn't even really think about making a movie [Dream of Life]. I was just thinking of documenting somebody.
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I do remember, the first time we met [with Patti Smith], the door opening with a squeak. And then there was this very beautiful girl looking out.
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I took pictures of the objects and artifacts that Patti [Smith] would show to her friends because I wanted to document them.
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I wasn't familiar with Patti [Smith ]much at all. When I was asked to photograph her, my wife said, "Oh my God, Patti Smith!" So I looked at some Robert Mapplethorpe books and I recognized those pictures.
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We had a hodgepodge of footage. We didn't film [in Dream of Life ]all the time - we would just film periodically, so nothing was synced and nothing was slated.
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Fashion's been really good to me. It financed Patti Smith: Dream of Life.
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The editing process was a free-for-all, and since I hadn't gone to film [Dream of Life] school or anything like that, I just said, "We'll do this. We'll do that." It was a really great experience that way.
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[Through the making of Dream of Life] I learned about being patient, perseverance, having a dream, a goal. I learned that I can accomplish something despite not knowing anything about it when I begin.
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The film [Dream of Life] came together when we started editing; it was organic, it became nonlinear and it was its own animal. And I didn't want to tame it, either. I wanted it to be different. It's not your typical documentary.
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Because the filming process was so organic and there was no script, the film [Dream of Life] was literally telling us what it wanted to be in the editing room.
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I would bring Patti [Smith ] in to the editing room [working on the Dream of Life] and say, "This is a great moment for a voiceover, or a poem," and then we'd bring in some sound design.
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