The Polaroid photos were taken during a rare break from work. On weekends, when he wasn't fully immersed in his day job, Robbie Mueller would pull out an SX-70, 600, Spectra, or whatever Polaroid camera he was using at the time and start capturing the everyday details he saw around him.
据文德斯说，《爱丽丝漫游城市》（Alice in the Cities, 1974）是他的第四部长片，在他决定是否继续当电影制片人的时候出现了一个重要的转折点。他认为他的前两部电影过于依赖约翰·卡萨维茨（John Cassavetes）和阿尔弗雷德·希区柯克（Alfred Hitchcock），而他的第三部电影是对《红字》（The Scarlet Letter: A Romance）的改编[1]，这是不明智的。《爱丽丝漫游城市》是一次有自觉尝试，文德斯要拍出只有他能拍出的东西。
Sitting on the terrace outside his room at the Beverly Wilshire Hotel, Juliano Salgado, son of Brazilian photographer Sebastião Salgado, pulls down on his cigarette as the day turns to night and the Christmas lights below come to life.
Midway through a scene in the documentary The Spectre of Hope, Sebastião Salgado explains to John Berger that the near 350 photographs in Salgado’s book Migrations represent little more than one second of actual time.
