Quotes About Interpretation

I think art, at its best, happens on a conscious and a subconscious level.

I want to do something original rather than interpret someone else's performance, which is always the risk - even if it's only in a subconscious way. I want to concentrate on giving my own fresh interpretation.

You can understand so much about how consumers perceive a brand by analyzing their spontaneous, subconscious responses.

Painters hate having to explain what their work is about. They always say, 'It's whatever you want it to be' - because I think that's their intention, to connect with each person's subconscious, and not to try and dictate.

Pop culture is like our subconscious.

To be an actor is to be ambiguous in every form, which is a very hard way to live. You represent desire: the desire of the director and the desire of the audience, even if it's a subconscious desire. If a director is to work with you for two months, he must be in love with you in some way or another.

It feels like your subconscious can be way ahead of you, as a songwriter. You can write a song that you think is about one thing and months later you're playing it and thinking, hang on, this is completely informing where I am now.

My influences happen at more of a subconscious level, I don't dig too deep into that or analyze it myself.

Whatever we take from a film - personal, public, private, subconscious - a list can only contain moments that are often a key to the recognition of something more complex.

In every work of art the subject is primordial, whether the artist knows it or not. The measure of the formal qualities is only a sign of the measure of the artist's obsession with his subject; the form is always in proportion to the obsession.

I do believe that movies are subject to a million interpretations.

The past is not simply the past, but a prism through which the subject filters his own changing self-image.

Art is a subject that is inundated with opinions. In fact, that's all it is about is opinions.

Fantasy isn't something I put into the pictures; I don't try and inject them with a sense of play. But it's about being an honest photographer; a photograph is as much of a mirror of the photographer as it is the subject.

A subject which at first glance seems quite removed from the undeclared concern of the book can encapsulate that concern.

When you act, you've got to be like a poet or a musician. It's not about evidence before court. It's not a forensic subject. It's poetry; it's a completely different place.

A song has a life of its own. It's an autonomous thing, separate from your own experience, almost. And the mere repetition of it means it's subject to change; it means approaching it differently, expressing different emotional aspects of it. It doesn't feel like wallowing.

Maybe the real subject of every interview is how you really can't learn much of anything about anyone from an interview.

With a photograph, you are left with the same modes of interpretation as you are with a book. You ask: 'What do we know about the author and their background? What do I know about the subject?'

What I end up shooting is the situation. I shoot the composition and my subject is going to help the composition or not.

The style depends on the subject.

A painting is finished when the subject comes back, when what has caused the painting to be made comes back as an object.

The artist himself is actually the subject in everything after, say, 1900. Eventually, art becomes so removed from the community that you have to know about the artist before you can even look at the painting, because there is a conceptual idea going on.

The subject matter is so much more important than the photographer.