Norman McLaren Quotes
I have tried to preserve in my relationship to the film the same closeness and intimacy that exists between a painter and his canvas.
Quotes to Explore
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I think of other artists as generous when I get inspired by their work. That's why I like curating. You don't want to take someone else's art and have your way with it. You've got to be respectful of them.
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But only art and music have the power to bring peace.
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I think people do their bravest work when given an elusive canvas. That would be seemingly the weirdest, but also the most wonderful.
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I feel like Adele is a diva. Not in the bad way. She is one of the greatest voices of this industry and of her own art. What she offers is so unique that she's risen to such a status that very few artists can enjoy.
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Frank Capra, Hollywood's Horatio Alger, lights with more cinematic know-how and zeal than any other director to convince movie audiences that American life is exactly like the 'Saturday Evening Post' covers of Norman Rockwell. 'It's A Wonderful Life,' the latest example of Capracorn, shows his art at a hysterical pitch.
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That's what film can do in a way that TV and other long-form storytelling can't. It gives you this very immersive moment.
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My family always encouraged my drawing ability. Kids in school who teased me about my reading would get out of their seats and stand behind my desk as I worked and go, 'Wow, you can really draw.' Later, I earned a degree in Fine Art and got a Ph.D. in Art History.
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The terrifying and edible beauty of Art Nouveau architecture.
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The art of boxing is seeing spaces and being able to take shots. The hitting and being hit have to become one. Your reactions have to be so in the moment. There's no time to think.
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Technology, like art, is a soaring exercise of the human imagination.
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Cover the canvas at the first go, then work at it until you see nothing more to add.
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The art of art, the glory of expression and the sunshine of the light of letters, is simplicity.
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An album is a whole universe, and the recording studio is a three-dimensional kind of art space that I can fill with sound. Just as the album art and videos are ways of adding more dimensions to the words and music. I like to be involved in all of it because it's all of a piece.
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For me, art is not 'brooding.' It comes from someplace that is more fun and that has a kind of electricity to it.
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I was influenced by European movies, old Fellini, old Kurosawa - any sort of foreign film.
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I do not want to repeat myself. I want to reach for something I've never attained. This is the excitement of art.
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I went to Goldsmith College of Art in London in the '80s and there I made sculptures, but the objects had nothing to do with how I was thinking. I was making beautifully sanded wooden boxes!
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In my mind, the plays I was writing were extreme examples of art for art's sake. I didn't necessarily think that other people would love them, though I thought they probably would.
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So Pa sold the little house. He sold the cow and calf. He made hickory bows and fastened them upright to the wagon box. Ma helped him stretch white canvas over them.
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A work of art doesn't exist outside the perception of the audience.
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When I got into drama school, that's when I knew that I could safely say that I wanted to be a professional actor.
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As a child growing up during the Korean War, I knew poverty. I studied by candlelight.
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The beginning dictates the direction and you never know where you're going to go ... the mood is what you're looking for, and somehow we always find it.
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I have tried to preserve in my relationship to the film the same closeness and intimacy that exists between a painter and his canvas.
