Quotes About Interpretation

In my dictionary, and everyone's dictionary in the 1970s, the word 'queer' did mean strange and unusual. There was no slur to it.

We have laws against torture. The Constitution says nothing whatever about torture. It speaks of punishment; 'cruel and unusual' punishments are forbidden.

Great design is so many things all at the same time. It is emotional, functional, and responsive. It creates an unwritten dialogue, a connection, between itself and those who experience it. It is open to interpretation yet created for a specific purpose. It creates meaning and value.

Sculpture is something you bump into when you back up to look at a painting.

The danger that we have right now are people who get the same information as I do and, therefore, think they'll reach the same conclusions that haven't traded as long, don't have bear claws up and down their backs like I do.

Sometimes my biography is interpreted as the upbringing of a French aristocrat. It was very, very different. We were a family of mercantile, immigrant Jews.

At the heart of 'The Famished Road' is a philosophical conundrum - for me, an essential one: what is reality? Everybody's reality is subjective; it's conditioned by upbringing, ideas, temperament, religion, what's happened to you.

I am sworn to uphold the Constitution as Andy Johnson understands it and interprets it.

One man's uplift is another man's sentimental hooey.

As for theatre, there's ups and downs to everything. Theatre is ephemeral. But that is part of its charm because you can always say the production was better than it was.

It's strange. No one ever really talked to me about my voice. People started writing about it, and I was like, 'What?' I'm really about my lyrics, but more people were talking about my voice. It's cool, but at first I got upset because I wanted people to focus on the content.

You know the phrase 'Jesus laughed' isn't ever used in the Gospels. So, most people walk away with the idea that Jesus is a pretty serious guy, pretty sour faced most of the time, pretty upset at what's going on around Him.

I remember learning new words, trying to figure out what common things like cider, finding myself upset that my parents couldn't help me understand this new culture, that it was up to me to interpret for them as well as myself.

It doesn't upset artists to find out that artists used lenses or mirrors or other aids, but it certainly does upset the art historians.

The audience may not have felt it was right, and the author may have felt a little upset, but every part I've played I've twisted around in my mind until I've made it into something of my own. Looking back over it, I didn't deliberately sit down and plan like that, but it does read like it.

It upsets me where you do a take and people go 'that's so funny,' and you think 'I was being serious.'

No, I didn't work it out upside down, I never turned it around.

With some actors, if I have upward of 10 notes, I don't want to give them all 10 notes and overwhelm them. I usually parse them out three or four at a time.

I think nowadays, women are breaking the borders or the boundaries and also trying to give a new interpretation in terms of impact you can have to the society.

I would describe my work as expressionist. The expressionist point of view is stressing your own feelings about something.

A work of art doesn't have to be explained. If you do not have any feeling about this, I cannot explain it to you. If this doesn't touch you, I have failed.

The work of rehearsal is looking for meaning and then making it meaningful.

The supreme question about a work of art is out of how deep a life does it spring.

My work is about your seeing. There is a rich tradition in painting of work about light, but it is not light -- it is the record of seeing. My material is light, and it is responsive to your seeing.