Edgar Allan Poe Quotes
To see distinctly the machinery--the wheels and pinions--of any work of Art is, unquestionably, of itself, a pleasure, but one which we are able to enjoy only just in proportion as we do not enjoy the legitimate effect designed by the artist.
Quotes to Explore
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Sofia Coppola is wonderful, and I'd love to work with her.
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In the 1970s and 1980s, I got to do some great work. The Oscars are really nice, but the best part is that I had the opportunity to do that kind of work.
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What works for me is knowing the character in an emotional sense. I wish I was more logical but it doesn't work for me like that. I need quite a lot of time; it's why I always worry when I'm doing more than one thing at a time. I hope that some sort of magic will kick in.
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I was a pretty pretentious kid. I was always making art.
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Movie making is not like other art forms, like painting, or writing a novel, because that can be digested or interpreted... It takes two years to make each one of these, and it's always judged on money.
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While I was at Cornell in engineering, I was an engineering co-op student, and that turned out to be very valuable because we'd go out every other term to work in industry and have that close association with industry.
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Women can be two different people - one person at home, another at work.
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When I read the pilot 'for Married with Children', it just reminded me of my Uncle Joe... just a self-deprecating kind of guy. He'd come home from work, and the wife would maybe say 'I ran over the dog this morning in the driveway'. And he would say 'Fine, what's for dinner?
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I've never seen hard work fail.
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I do not follow the rules of fashion, and I don't like to be considered a man of the world of fashion. I like to call it the 'style industry' because we try to work on taste.
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I'm a guy of 92kg. I haven't got the physique of someone who can work back and then sprint up front again throughout a match!
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When you work with Ray Charles, Billy Eckstine and Frank Sinatra, and you tell them to jump without a net, you better know what you're talking about. Thank God I was ready for it.
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I have no interest in making a work that doesn't elicit a feeling.
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Although I write to entertain, and try to keep my work free of didacticism, I do have a rather passionate belief in our need to be connected to - and to learn from - history.
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My work is drawn to the political but avoids an agenda. There is no inherent critique or support.
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With high underemployment - currently over one million part-time workers in the UK want to work more hours - sanctioning clients who cannot increase their hours seems to be both unworkable and unfair.
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My father was a painter and an anarchist, always getting in trouble for his performance art.
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Our work is never over.
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I think an art collection is a lot like a diary. Your taste evolves with time. I try to never sell anything, because it's part of my journey.
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Both God's love and God's wrath are ratcheted up in the move from the old covenant to the new, from the Old Testament to the New. These themes barrel along through redemptive history, unresolved, until they come to a resounding climax - in the cross.
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Peter Morgan's writing is so much about what you don't say: you're saying one thing but there's 10 other things going on, and those are the best writers like Chekhov... they're masters at a sort of naturalism, and yet there is all the subtext.
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I did a TV show called 'Unit 1.' It wasn't a bad experience, but yes, the first season I didn't have a good time because I was coming from Nicolas Winding Refn films where the corners were sharp and radical, but now we had round corners.
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If you laugh, you think, and you cry, that's a full day. That's a heck of a day. You do that seven days a week, you're going to have something special.
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To see distinctly the machinery--the wheels and pinions--of any work of Art is, unquestionably, of itself, a pleasure, but one which we are able to enjoy only just in proportion as we do not enjoy the legitimate effect designed by the artist.
