Quotes About Interpretation

I love Sherlock Holmes. There's still an awful lot to steal from Conan Doyle. But within a tradition you can work in many different ways.

The movie feels to me like a real work of lovely art.

I like poetry when I don't quite understand why I like it. Poetry isn't just a question of wrapping something up and giving it to someone else to unwrap. It just doesn't work like that.

As for how criticism of Keats' poetry relates to criticism of my own work, I'll leave that for others to decide.

You can understand a lot about yourself by working out which fairytale you use to present your world to yourself in.

I think with anything where you delve into the back story of an artist, it kind of explains their work more intimately.

I think, for me, when I direct my own work it's just an extension of the authorship.

Sometimes I want to work with a DP, sometimes I want to work myself. I go to 35mm, 16mm, it's all the same, but it depends on what you want to tell and what are the tools you need.

You have to work with what you are given, even in Shakespeare. we have our form and it is important that we free ourselves through it.

I do like that idea that music can work on two levels, and you only pick up on the second one after a few listens.

I'm depending on other people to take the work and run. And if they run in so many directions, they sort of cancel each other out. So the meaning is always open.

Usually when you start the characters, the first thing is the script. Your design work is about telling the story. It's later that casting comes into play, but it's a huge component.

Painting is a way of thinking visually, so whatever is happening with me at the time gets reflected in the work.

I think what's difficult is proving to people that a script actually does work and sometimes the laughter might not be on the page, it might be between the lines.

History may clarify our understanding of the supreme work of art, but can never account for it completely; for the Time of art is not the same as the Time of history.

The work for the actor is always the same. We're looking for a human being. We're looking for believable human behavior.

I don't necessarily agree with everything I read about my films, but I wouldn't highlight a specific misconception: If people think this or that about myself or my work, they must have their reasons.

I don't think I treat my film work as an extension of my photography. There are two different sets of rules there.

The work of art acts like another living person with whom we are conversing.

When you work in a different language you are not so attached to the words.

In academic circles, especially, I was criticized for lacking morals, values, and ethics. I'm feeding that angry feminist reading of my work.

Sometimes when people look at the work I've done with my family, they think it's autobiographical. But it really isn't. It's more about the idea of family.

The artist likes to seem totally responsible for his work. Often he begins to explain it, to make it appear as if it were a reasonable process.

Being around Lily Tomlin has been great, how she treats people, how she handles herself, how she goes about interpreting her character or deciding how the comedy should work.