Quotes About Interpretation

Sexiness is all in the eye of the beholder. I think it should be. Absolutely. My sex appeal, whatever it might be, isn't obvious... at least to me.

I hear a good song and I start thinking, 'Oh shoot. You know there's a story that can be told to this,' and whatnot.

If buying art is to matter to us deeply, then it has to engage with our emotions and bring something to what one might as well, and with no supernatural associations whatsoever, call our souls.

Any Arthurian enthusiast who has watched 'Merlin' has probably concluded that it's not accurate whatsoever - but, it's not meant to be. It's not meant to be a true telling. It's in a fantasy setting, it's really concentrating on the fantasy element.

What role should religion play in the American public school classroom? My own knee-jerk response would be, 'none whatsoever,' but the Constitution isn't quite so direct on the subject.

Music videos were an outlet. They were the jobs most easily available to me, but creatively, they're also so free form; there are no rules whatsoever.

When I put a bicycle wheel on a stool, the fork down, there was no idea of a 'ready-made' or anything else. It was just a distraction. I didn't have any special reason to do it, or any intention of showing it or describing anything.

When someone asks me to do a score, I look at the picture two or three times. I never watch the rushes to pick up the mood as quickly as I can. If it's something I want to do, just watching the film will start the wheels turning.

I'm honestly offended whenever someone says I'm being harsh.

It's like, whenever I do any kind of cover, if it's a jazz piece or pop cover, I want to honor the original and make sure that the bulk and the juice of what makes that so great is there, but take it to a different place.

Whenever people ask me what the story is for my next film, I won't tell and people feel it's because I'm being secretive or something, but it's actually because I'm ashamed to sum up a film in three sentences.

Whenever I listen to songs, I rewrite them in my head.

Now, whenever you read any historical document, you always evaluate it in light of the historical context.

Whenever I do a parody it's not meant to make you hate anybody's music really.

Whenever I read a script, I start recasting the role that I might play. I'm like, 'God, this should be played by Domhnall Gleeson, not me.'

I'm sort of one of those weird actors who whenever I do a play, I think, 'Oh, we should film this,' as opposed to have to belt it out of ourselves in a theater auditorium.

I never learned to verbalize an abstract musical concept. No thank you. The whole point of being a serious musician is to avoid verbalization whenever you can.

Whenever you're playing somebody who is, by all accounts, rotten, don't focus on the rotten stuff. That stuff will take care of itself. It's already in the script; the audience is already experiencing it without you having to add an extra feel of evil. Just play them like regular people.

English poetry begins whenever we decide to say the modern English language begins, and it extends as far as we decide to say that the English language extends.

Whenever I do someone's portrait, I'm trying to locate the photo in the lens while reaching into that person psychologically. There's the magic! I don't always achieve it. It's a hit or a miss!

Whenever I start to really think about what I'm playing, I may play it better musically, but the feeling isn't there.

Whenever you finish an artwork and the viewer comes and views it, at that moment you've given up control.

Whenever you have a role where you don't get to know anything about the character, you have to invent it yourself. You have to feel like it came from somewhere.

It cannot be assumed that equity was following common law whenever they agreed, any more than the converse.