Y creo que los eventos del mundo se metieron en el camino, o la vida misma. Cuesta muchísimo dinero ir al espacio, y había, o hay, cada vez menos dinero para hacerlo. Creo que ahora se ve al espacio en una forma diferente, no desde la investigación pura, el hecho de llegar y conquistar, sino en lo que puede generar en términos de tecnología, medicina y ganancia económica. Va a empezar a pagarse a sí mismo, al menos un poco. Además, ¿turismo especial? Seguro que va a ocurrir.
También, ser astronauta parecía un empleo fabuloso. ¿Qué se logra obligándolo a barrer el piso o ir al lavadero? Son tareas bastante ordinarias.
La razón es muy simple: es un empleo fabuloso, pero sigue siendo un empleo. No están siempre en el espacio haciéndolo. O sea, ¿qué hacen cuando no trabajan? Se hacen la cena, ven tele, van a lavar su ropa, todas esas cosas que cualquiera de nosotros haría.
La dirección de arte es brillante. ¿Dónde consiguieron ese traje tan NASA?
Creo que lo más importante fue encontrar las locaciones y la utilería correctas. Cualquier detalle que no fuera así, que no se viera auténtico, me hubiese parecido una gran distracción, me hubiese hecho mucho ruido. Y el traje es de una compañía de Los Angeles, muy realista, por cierto.
Otros aspectos de tu trabajo artístico, otras series, como las de coleccionistas de cajas de cereales o los marcos de cuadros en las calles, son interesantes también.
Me intriga la gente que colecciona cosas símplemente porque yo no lo hago. Supongo que me gustaría hacerlo, pero no entiendo la atracción. Algunas colecciones son sorprendentes, pero no puedo pasarme el tiempo haciendo que eso ocurra. Más que nada, es capturar un momento del mundo, su belleza, color, forma, la gente que lo habita. Prefiero admirarlos a tenerlos en casa, no ubico valor en las cosas. Es principalmente las cualidades que representan: dedicación, alegría, fuerza, amor. Valoro las herramientas por lo que pueden hacer, no por cuán maravillosamente estén hechas. Las cosas pueden desaparecer, no así las cualidades. Y ahí hay un principio del credo americano.
OK, entonces, ¿quién es Hunter Freeman, en una nuez? ¿Cómo llegó a donde está?
¡Ja, ja, ja! Es uno de los tipos con más suerte que conozco. Tiene la bendición de hacer lo que ama y vivir de ello. De verdad, agradezco cada día. Supongo que llegué a donde estoy por escuchar a gente más inteligente que yo. Todavía me siento como un chico, en el sentido de que siempre intento mirar las cosas en nuevas perspectivos, en no ser complaciente en cómo veo al mundo, ser como un niño, pero no infantil. ¿Se entiende? Aunque a veces me porto como un chico. Me entretengo fácilmente. Y a pesar de tanto pesimismo, soy un optimista.
Sue Pinkerton, tu studio manager, es muy conocida en el medio. ¿Cómo funciona el nexo entre ambos?
Es una productora muy valuable para mí. En síntesis, ella hace todo el trabajo duro del estudio, y yo nomás hago las fotos. Está involucrada en cada detalle del planeamiento, desde hacer los estimados hasta pasar las facturas. Los dos queremos que los shootings sean experiencias felices para todos los involucrados. Y los dos somos solucionadores de problemas, por así decirlo, nos gusta encontrar la respuesta a cualquier interrogante que se nos cruza.
Clientes como Harley Davidson, Polaroid o Apple: ¿cómo trabajar con cada uno, cuando tienen identidades visuales tan bien definidas?
La mayoría de los clients parecen tener un punto de vista, y mi trabajo, creo yo, es llevar ese punto de vista a la vida en lo que sea que el trabajo requiera. No defino lo que hago por iluminación o composición. Trato de resolver el problema que tengo enfrente, y dejar que la solución guíe otros aspectos como luz y encuadre. Los productos de Apple son como pequeñas joyas, las Harleys son como esculturas maravillosas que salen a agitar el mundo, y Polaroid siempre se trató de capturar un momento.
Solés decir que te gusta encontrar el arte en el comercio. Los intentos de unir esa brecha siempre fueron demasiado arty, o demasiado comerciales.
Es que hay tantos buenos ejemplos: Irving Penn, Richard Avedon, la lista sigue. Todos encontraron un arte sorprendente en lo que fotografiaron. Ansel Adams hacía postales de joven, Warhol decoraba las vidrieras de Tiffany antes de despegar. Un buen amigo me dijo una vez que cada trabajo que hiciera tenía que ser pensado como mi próxima pieza de portfolio. Y creo que los mejores fotógrafos publicitarios, o fotógrafos en general, piensan de la misma forma.
¿Y cómo se cierra esa brecha, entonces?
Siendo cada vez más como un niño, supongo. Admiro en esa línea el pensamiento de Picaso: él decía que de joven, quería pintar como un adulto, y de adulto, quería pintar como un niño. Ver las cosas de nuevo y en una forma nueva es lo que te refresca el propósito, el por qué de tus tareas. Ciertamente funciona para mí.
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