Quotes About Interpretation

Do not disturb!' 'No molestar!'—ever get the idea some things aren't translating right?

History has an imagination greater than any writer," said Serge.

Hey, Serge, I just realized that 'slow up' and 'slow down' mean the same thing. That's fucked.

I think acting really helps as a director. It's just no question, because you totally understand the acting process.

You create the color first, and then the name that fits. It depends - there are no rules. You watch a fabulous old movie, and you suddenly get inspired by it to create a lipstick shade, or you walk through a gorgeous garden and find the most beautiful flower shade for an eye shadow, and then you name it.

There is no wrong design. There are no rules. Anybody can get it right by giving it a sort of story.

When you're writing with an artist or for an artist, you have to help them serve their vision. That's the cool part about writing songs. There are no rules.

Making noise is easy; making stuff people understand is an easy thing to do.

Noises have generally been thought of as indistinct, but this is not true.

I think, like, fiction has a place to understand those things that are hardest to understand that non-fiction can't ever get at.

In my mind, there's not a great difference between what people call fiction and non-fiction. So in that sense, I'm like an early-18th-century person. I actually believe there's one way of writing.

I don't know what that line is between fiction and non-fiction that other people have in their minds, but to me, when I'm writing, it's just like whatever the next sentence should be is the next sentence. It's not this artificial division.

One thing that I really love about making records is that you can flow through fiction and non-fiction but, ultimately, everything's a commentary on real life in some way.

To the biographer all lives bar none are dramatic constructions.

There is no longer any such thing as fiction or nonfiction; there's only narrative.

I view myself as a fiction writer who just happens to write nonfiction. I think I look at the world through a fiction-writer's eyes.

I believe every time you film anybody, you create reality with that person - whether it's fiction or nonfiction.

I don't really believe in the mystery of cinematography - what happens in the camera is what the cinematographers create and all that nonsense - I want the director to see what I'm trying to do.

I don't like the Samba; it's nonsense. With a lot of these Latin dances I can't really understand what they're all about. I like the Rumba and the Paso Doble but the others I could take or leave.

As a musician and a guitar player, I can noodle as well as anybody. But from my background as a session musician, I always try to play what is called for by the lyric and listening to the song. As a writer, that's what I do, too.

The 'Glass' is not my autobiography, nor is it self-expression. Far from it.

Normally, when people compose for film, you give them the film, and they look at it, and they compose it.

Normally when I'm sent a script I'll read it through to see how it hangs as a story and then I'll go back and read it through again and look at the character.

In the work that I normally do, you have a whole script, a whole arc, that you play. And I do believe a good actor will play every bit of information they're given.