Quotes About Contrast

Smooth shapes are very rare in the wild but extremely important in the ivory tower and the factory.

I have two moods. One is Roy, rollicking Roy, the wild ride of a mood. And Pam, sediment Pam, who stands on the shore and sobs... Sometimes the tide is in, sometimes it's out.

Marilyn Monroe, Jayne Mansfield and I were so different from each other. I was doing very young movies, and Marilyn, who was ahead of me, was doing a lot of homogenized movies that weren't quite as wild as the ones I was doing. Jayne was more of a character of herself.

The world of the flapper - live free, wild and young - that energy is intoxicating. It's nice to inject that into the more controlled 'Downton' way of living.

Wild and urban at the same time - that's the type of woman I'm with.

I was so grateful to have made 'Into the Wild' before I made 'Speed Racer' because on 'Speed Racer' I was indoors every single day, every single scene, on a green screen. Some of the time, just to pass the time, I would think back to climbing mountains in Alaska. That really helped me.

I'm a city boy. I grew up in a big city, in Birmingham, and I want to write about a city. It's much richer tapestry for me than green fields. Fields and wild life make me feel ill. I don't like - I don't want to write about that stuff.

Most of my favorite fictional couples are distinctly different. Light and dark, good and evil, boring and wild... whatever! They're more fun to experience and definitely more fun to write. You have all these levels, and you know they're not going to react to situations the same way.

Ten flashing lights are a nuisance but 500 are fantastic.

Japanese maps tend to come in two varieties: small, schematic, and bewildering; and large, fantastically detailed, and bewildering.

People tend to think of Brisbane as a sleepy, sub-topical place. I don't know. It's like Baltimore or something. I don't know. You would hear the family dramas going on behind closed doors.

We have a tendency to think of war as this quasi-mystical thing, and that interpretation flattens the experience - by using different perspectives, I wanted to open a place for readers to compare and contrast, to make judgments, to engage.

People have a tendency to do that - to go the polar opposite of what they've done before if they've felt like they've done something wrong.

In this world, full often, our joys are only the tender shadows which our sorrows cast.

One could laugh at the world better if it didn't mix tender kindliness with its brutality.

A painting should be tough; it should have muscle, but I have to find some tenderness in it, too. There has to be that dynamic.

The brutality that can take place in a crime film heightens the tenderness that can also be there.

When you say something is very different to a core base that expects heavy music from you or very aggressive music, everybody tends to go, 'Oh, they're gonna get mellow, they're gonna get soft.'

Everything in our world tends to be built on either/ors, and either/ors inevitably make enemies.

My lighting tends to use contrast as a reflection of the stakes in the scene. The higher the stakes, the more I feel I can get away with an exaggerated contrast.

Sometimes when you think something is shiny and gold, it tends to be rusted and bronze, but that's just the way it is, man.

In Tennessee, you can live off fast food. It's everywhere... But it's nowhere in San Francisco, and I didn't know how to navigate the city to eat.

I was passionate about soccer. I still am. Odd, though - playing soccer always made me much more anxious than playing tennis. On soccer days, I'd be out of bed by 6 in the morning, all nervous. But I was always calm when it was time for a tennis match. I still don't know why.

I don't like to watch a movie where it's just kind of like all one note, dee-dee-dee-dee. I want spikes of adrenaline and highs and lows and exciting tension release.