Quotes About Interpretation

I mean, I've had bartenders and waiters and waitresses make a comment about a joke of mine, like pointing out some sort of logic error or something that I've never even thought about, and they're right.

In English, my name means hope. In Spanish, it means too many letters. It means sadness. It means waiting. It is like the number nine, a muddy color.

Particularly when you're making a movie of a book, people are always waiting with their knives - you know?

In Britain, you know there are people waiting to tear your stuff apart, so it's important for me to know that my music has subtleties and depth to it.

It's a natural thing for people to say, you know, Who's in this book? I find myself get ting a little defensive. People come along and I'm waiting for that first question.

When you're adapting, you are working on someone else's problem that they have already solved. The work has been fine-tuned and read countless times, and you're just arriving at the end and taking what you want, so of course it is the regal way to moviemaking. Plays are just the ideal scripts - the structure is there and waiting for you.

I'm the girl that waits for the director to say, 'I like that,' or 'Can you boost it up?,' or 'Can you pull it down?' I'm that kind of actor. I started in theater, so that's the feedback that I'm accustomed to. It's the feedback that I really thrive off of.

Which implies that the real issue in art is the audience's response. Now I claim that when I make things, I don't care about the audience's response, I'm making them for myself. But I'm making them for myself as audience, because I want to wake myself up.

I think the best endings bring you back in rather than close things off with absolute finality. I'm not saying they necessarily have to be ambiguous, but we don't always need to know what happens when everyone wakes up tomorrow morning.

Architects typically inherit programmes or sites. We maybe twist the programme a little bit, bring our own invention into it, and we feel perfectly happy when we walk away. It doesn't feel like quite enough.

If I see three oranges, I have to juggle. And if I see two towers, I have to walk.

Sometimes we'll walk into a set, and I'll think, 'Oh, this film doesn't look like this.' You know, 'cause I read the script, and I saw it in my head in some other way. Which is a lot like what happens when they're writing a movie that's based on a book - I'm like, 'Ah! He doesn't have a beard.' You have these visions in your head about it.

I want to see movies I can walk away from and say, 'Wait, what happened there? Hold up, what did I just see? What?' and then it connects to something that you personally, unequivocally know to be truth.

There were no clippings of Ambedkar. The only thing I had was a two-and-a-half minute film which I saw countless times. Nobody knows how he walked, how he spoke, or how he behaved. I had to conceive all those things in my mind. I had to work a lot on the make-up, too.

If anybody has walked down the road and someone says turn left and you take a right that's a form of dyslexia. If you write a number down backwards or you get the numbers mixed up a little bit occasionally, that's a form of dyslexia.

'Spring One' probably has only four bars of Vivaldi in it, but it feels like it's all Vivaldi. It's odd. It's a bit like walking around a sculpture, you just sort of see it from a different angle.

I thought Out of Action was better as a catalogue than the honeycomb because the honeycomb was like walking into one compartment and then another compartment.

People often say to me, 'I don't know anything about dance.' I say, 'Stop. You got up this morning, and you're walking. You are an expert.'

The child often sees only what he already knows. He projects the whole of his verbal thought into things. He sees mountains as built by men, rivers as dug out with spades, the sun and moon as following us on our walks.

If I get the walk of a character, that helps me find them. So I'm constantly looking at airports and train stations, registering walks.

I don't believe in expertise. I don't believe that a film critic feels a film more deeply than any person who walks into a theater. I don't believe that.

I think we're so advanced when it comes to watching narrative material. I mean, it's all we do is consume content all day long. So when a character walks onscreen, you immediately start making connections for that character: Is that a good guy? Is that a bad guy?

Prepping for any character is the most important thing because if you don't know how she walks, talks or thinks, you can't do justice to it.

In the dime stores and bus stations, people talk of situations, read books, repeat quotations, draw conclusions on the wall.