Quotes About Interpretation

Art and creativity are crucial, whether you're a mathematician, a scientist, or an artist.

I always do drama. It's just that some people laugh at it and some people cry.

One person's religion is another person's cult.

Critics have a responsibility to put things in a cultural and sociological or political context. That is important.

The place I am always looking for - because in order to keep the business, I need to make a little compromise between my values and customers' values - is the place where I make something that could almost - but not quite - be understood by everyone.

Nothing shows up the difference between the things said or read, so much as the daily experience of it.

I'd rather not get into what I'm talking about lyrically. I think it's impossible not to demystify a song when saying what it's about. Music and art can be damaged severely by too much information; I say that as somebody that has participated in that.

Most of the time when people say something sounds like Steely Dan, and I listen to it, it doesn't. And I'm not even sure what they're talking about.

People come to see beauty, and I dance to give it to them.

Dance should mean something to you.

When I say I can see through clothes, sometimes I try to use it as an X-ray vision to look into the dancer and see who this dancer is right now, at this exact moment in time. I live inside them in a way.

When I was a dancer, I was acting.

The battle between Google and Apple has shifted from devices, operating systems, and apps to a new, amorphous idea called 'contextual computing.' We have become data-spewing factories, and the only way to make sense of it all is through context.

I do think we have a responsibility to be aware of the stories we're telling and how those stories will be interpreted and what sorts of value systems we're celebrating.

Acting, music, comedy are all just delivery systems to communicate ideas and stories.

It appears a bold thing to say so when one sees how much many a modern author who knows how to make a skilful use of the Book of Chronicles has to tell about the tabernacle.

To put down an ideogram of a table so that people will recognize it as a table is not the work of a painter, but to sense it for a moment as a magic carpet with a leg hanging down at each corner is the beginning of a painter's imagination.

Most people draw from the mind, not the eye. They draw the idea of a table or a face, not what's in front of them. We don't actually see the line of the jaw as a line and we don't see an eye as a perfectly outlined almond shape.

When you're creating a character out of nothing, you have to make all the guesses as to how they walk, how they talk, how they think. It was all there on the table for us to pick and choose for Murrow.

At the breakfast table we are footnoting everything that we read. We don't recognise it as such but we encounter an article in the newspaper and then suddenly we recall that a friend had a certain comment on that particular story, a certain bit of news that we saw on the television applies to that and we immediately assemble an idea of a story.

I constantly want to know - what is a table, or what is a cat?

The content of Saul Leiter's photographs arrives on a sort of delay: it takes a moment after the first glance to know what the picture is about. You don't so much see the image as let it dissolve into your consciousness, like a tablet in a glass of water.

I know that my way of tackling a character is very different.

Silence and tact may or may not be the same thing.