Quotes About Interpretation

I don't want people thinking they know me instead of the character. Steve McQueen has loads of stories about him - who knows what's true? But it's great for people to fictionalize rather than know the truth.

That was very flattering, meeting Steve Vai and hearing his stuff, because he was kind of a fan, even though we kind of dumbed down what he was doing and what people were doing in the '80s. We weren't doing solos; we were doing sounds and all this creepy, trippy stuff.

I just love Steven Seagal for his pure - his perspective on what being a hero is: just a purely evil, cruel perspective.

I feel that 'Rudraksh' is Mani Shankar's answer to Steven Spielberg.

I like how you can go back and watch David Lean and John Ford and see the influence that had on Steven Spielberg, especially David Lean, in the camerawork, and yet, you don't watch any Spielberg movie and think of David Lean. Once you're looking for it, you see it all, but it's not in your face.

For Stevie, the words are of prime importance; the song moves around the words, rather than the words moving around the song.

I think that's all you do as an actor. You give ingredients for the edit, and the edit's the stew, and they try to make a meal out of it. That's all you are. You just throw things in. This is an idea, this is an idea.

When I'm acting, I just come up with people I've known, and I stick with it.

One of the dumber things my manager said was, Stick to the melody. But I can't.

It doesn't matter if you stick the name 'bluegrass' on it. I think people call things bluegrass that I wouldn't necessarily call bluegrass, but what they're calling country music today I'm not sure that I would call country music. But I love music and I try to encourage people.

I dream in numbers, and I like to look up the meaning of numbers, and numbers stick out to me.

If you're going to abridge a book in the author's own words, you can't go sticking your own in.

In all these years of doing theatre, I've been a very physical performer - physically demonstrative, yet sticking to the realism of the piece.

I try and write a fair amount in the beginning without the movie. And then when I do get the movie I create these demos, just mock-ups, and I throw them up against the picture and some of it sticks and some of it doesn't. But I'm very careful before I play anything to picture, because that's such a profoundly important moment.

When I think of Morricone, more than his using a specific instrument or a specific sound, it's his way of approaching music that sticks out.

A lot of people misunderstand what is Strong Style. Hard hits? Stiff? I don't think so. Strong Style is a kind of philosophy.

It doesn't matter if you can't speak the same language. If you have pictures, or better still, if you can draw things, then you can communicate anything to anyone.

Every picture has its own demands, and every picture stimulates something within you to tell it a certain way. I don't know what that is; I don't think too much about that.

All the things worth writing about are outside me. I'm a lens, not a source. And even if it's not always a comfortable journey, it's always a stimulating one.

I stole everything I ever heard, but mostly I stole from the horns.

I'm probably one of the worst actors as far as preparation goes, because I actually don't prepare. I find it easier to read the script and whatever hits me in my stomach, like deep down, I just go with it. And the director kind of molds me whether to go right or left with it.

A cookery book should be there for inspiration. Recipes should be a guideline, and they shouldn't be cast in stone.

There are so many things that are misunderstood or not recognized about my father's music because they've been filtered by people who work for magazines like Rolling Stone.

Decades ago, Gerhard Richter found a painterly philosopher's stone. Like Jackson Pollock before him, he discovered something that had been in painting all along, always overlooked or discounted.