Quotes About Interpretation

Auditioning is so different than doing the work in some ways. It's very much about solving the scene, I think, and coming in with a strong take, but not having it set in stone.

It wasn't stone. It wasn't welded steel. It wasn't traditional sculpture. They thought it was craft, or something else, but not art. They couldn't define it in the early Fifties when I was starting out.

You know, Rolling Stones songs all sound kind of the same.

A sculpture is just a painting cut out and stood up somewhere.

It used to be that if you stood in front of a painting you didn't understand, you'd have some obligation to guess. Now you don't.

Since my first encounter with Kafka's writing, I've been interested in a quality that, while he was alive, stood in the way of his achieving a large reputation: his allegory.

The key is in remaining just aloof enough from a painting so that you know when to stop.

Because of that I don't care when I read in the newspaper that I am colourblind. I went through a red light in my car and I stopped when I before a green light. So I must be really colourblind, eh?

When you really think about it, it doesn't really matter where a game ends. Ultimately, if the player is satisfied with stopping at a particular point, it doesn't matter if it's where the creator intended things to end or not... and so that's where the idea of having so many endings came about.

When the uncreative tell the creative what to do, it stops being art.

Adapting a book doesn't mean the book stops just because you've made a film out of it.

What I love about travel and shopping is seeing how different retailers in London, Paris, and New York interpret the same collection. I like to find the best store in town and take a good look because there will always be a nuance that you just can't get anywhere else.

Ideas come from life: what happens in mine, what I see happening in others', mixed with a great deal of imagination. I might see a person in a grocery store and build a whole character and life out of what's in her basket.

When you think about it, department stores are kind of like museums.

To hell with facts! We need stories!

I want there to be hints of narrative everywhere in the image so that people can make up their own stories about them. But I don't want to have my own narrative and force it on to them.

I don't have a great eye for detail. I leave blanks in all of my stories. I leave out all detail, which leaves the reader to fill in something better.

I don't necessarily believe that stories need closure. I just believe they need a beginning, middle, and end, but the end doesn't have to prevent us from continuing to grapple with the story at hand. It ideally should demand that we remain engaged with the story.

We tell ourselves stories in order to live.

Is it sad that Storm Corrosion needs to be explained to people before they can accept it? I don't think it's sad; I think it's inevitable. I think it's just human nature.

For me the rehearsal period is the part I most enjoy. It's the creating of the story.

I believe that the best cameraman is one who recognizes the source, the story, as the basis of his work.

No story is the same to us after a lapse of time; or rather we who read it are no longer the same interpreters.

I try to push a single idea to its absolute limit. So for all of those ideas that existed in the story, you attempt to find a physical realisation in the space.