Quotes About Interpretation

The object of religion is the imagination, that deep and inexhaustible font of our understanding and symbolizing our deepest possibilities.

Without a possibility of change in meanings human communication could not perform its present functions.

The voice is like a man, like ourselves: we all feel melancholic about what we have lost, the things we could do when we were young. But having the possibility to still perform is wonderful. The voice loses elasticity as you age, but on the other hand, maybe you are more mature as an interpreter, maybe your approach to singing deepens.

My job is usually to express emotion as freely as possible.

Art should be perceived as subjectively as possible, and if anyone wants to see something in 'Belus' that I had not planned, that is fine.

The most fun you can possibly have as an actor is to walk that line between what's real and what's interesting.

Often in the past, there have been authors that were deeply disappointed in their adaptation, but that's because they haven't accepted the fact that a movie is a different thing, and it can't possibly be the same as the book.

To consult the statistician after an experiment is finished is often merely to ask him to conduct a post mortem examination. He can perhaps say what the experiment died of.

Normally, if you're lucky, the idea of a film you have in your head is more or less what you get back when you see it after the editing and the whole post-production process.

Art is always in the eyes of the beholder. Only posterity has the right to point out our mistakes.

Sometimes I have chosen to see films just by their posters.

Potato salad is very personal: everyone makes theirs differently.

I've just simply used what I've used because of the great, great expressive potential of it.

I often use nameless places in my work as a way of allowing the readers to create more of the novel and to make it potentially about their experiences, what they know, a city that they have perhaps seen on television.

I have been in five Harry Potter films and never read a 'Harry Potter' book. If you are an actor, all you have is the script you are given. If you read the book, you might get disappointed about what's been left out.

Ezra Pound was a crackpot on social and political issues, but he knew what he was talking about in matters of the written language.

I suppose that the Western has always been a kind of mold to which you could pour the concerns of the day, but have them seen in the simple terms of the Western, of one alley or whatever.

I feel like there is something about having a copacetic world POV that helps in making a comedy. Like, David Wain has such a particular way of looking at the world. It helps when everyone can see behind his eyes, you know?

I didn't equate a POW camp with a concentration camp.

I'm not a conspiracy theorist - I'm a conspiracy analyst.

Isn't that what writing is about? The constant attempt to understand the world?

I'm constantly making exhibitions in my head.

All too many consultants, when asked, 'What is 2 and 2?' respond, 'What do you have in mind?'

When I'm given a role, I'm consumed by a passion to bring to life a character that exists only on paper. I mull over the character for days and internalise his feelings.