Quotes About Art

Pipilotti Rist is a Swiss video artist I learned about pretty early on. She's one of the first contemporary artists I knew about and was really drawn to.

All my collaborators unilaterally said that I need to just stay on one idea for longer. And of course I understand that. I like to switch gears a lot, and I like this kind of sloppy attitude.

I have a home-school group with a couple of my friends. We switch off going to each others' houses and going to the library to do art and stuff. It's almost like our own little school - a really little school.

You have to be completely in the character, and that's so hard to do. That's why, when they call, 'Cut!,' you often feel yourself shift. Unless you're Daniel Day Lewis, who stays in character all the time, there's a switch that happens.

Production-wise, I've always stuck with Ableton Live and there's really no reason to switch to something else at this point.

It's great to do something that makes your brain just switch to a different mode, and music can do that really powerfully.

There is nothing called 'switch on-switch-off' in an actor. We are not machines.

What switched me to films was the flood of American pictures into Paris after the Liberation.

It's not that easy, but the moment the camera is switched on, I have to mould myself to breathe life into the characters I portray.

When I got back to Madison Avenue, I realized that copywriters made more than artists, so I switched.

I couldn't pick up a sword and go fight anyone, let me put it that way. It's choreography and it's acting. The best sword fights you see look amazing, but it's the acting that sells it more than anything.

I wear my Pen as others do their Sword.

Sword fighting in film is not about how good the fighter is, but how good the actor receiving the blows is.

Making a film is very hard work, and you live or die by the sword just a little bit every time you do it, but I wouldn't chuck it in.

Doing the sword fighting is like picking up a dance routine... I think dancing really helps with the picking up of it.

Artists are never wrong when they paint revolution with the beautiful dress and with the sword. On the horse or by foot. Because revolution is a woman.

I have sworn to die painting.

Film directors don't come to the theatre in Sydney. In London and New York, they do.

A line has to have a certain number of syllables, and the next line has to be its mirror image.

What makes a poem is the discipline inherent in making a poem: trying to fit feelings in the requisite number of syllables and lines, disciplining one's feelings.

I write in a mathematical manner. For some of my songs, I rhyme every syllable. It's a science.

Like any art, what is the most imprisoning thing is also the most delivering thing. If an actor knows he only has 12 syllables in a line, the challenge is, 'How can I interpret the meaning and contain it without going one syllable over?'

In the final analysis, a drawing simply is no longer a drawing, no matter how self-sufficient its execution may be. It is a symbol, and the more profoundly the imaginary lines of projection meet higher dimensions, the better.

The modern work of art, as I have said, is a symbol.