Quotes About Interpretation

If you're a photographer, you end up being the raw creative force that allows other people to see what kind of narrative you want to be giving or what kind of art that you want people to see.

For me, a novel is always the result of my attempt to impose myself on raw circumstances. It is a concrete form of lived experience.

In a movie, you're raw material, just a hue of some color and the director makes the painting.

My favorite thing as a performing artist is to get a pile of raw material from a writer who says, 'Will you help me make this real?' There's nothing like starting from scratch.

I didn't really know what I was looking at when I first came across Man Ray's 'Dust Breeding,' his photograph of a work by Marcel Duchamp called 'Large Glass.' It looked like an aerial photograph or a view through a microscope.

If all the economists were laid end to end, they'd never reach a conclusion.

When you know what an actor has, you can reach in and arouse it. If you don't know what he has, you don't know what the hell is going on.

I have wanted to be a fine artist painter, and I reached the point in art schools were I'd like to understand more about images and how images communicate information to people. And I was not getting very far in that from my professors.

The danger is you never know if people are actually saying what they mean. I've learned you never know how someone will react.

When you listen, as a human being and an actor, you can react authentically.

I thought it would be good not to hide the fact that you're taking a photograph, and have people react and come in close and also make a commentary on what's being photographed: 'This is a photo, this is my point of view.'

People react to 'District 9' and Die Antwoord on the same level.

I live my everyday life as a person, and I react to my photos from a certain distance. When I look at a photo, I detach myself and look at it as a product - not as me, Isabella.

The way I look at it is, when you allow people to submerge themselves into a story, they will react by thinking through what it's about. That's just so much more fun and effective, I think, than a lecture.

No matter what the character is, I just say to myself 'If I, Melissa George, was in that situation, how would I react?' and once you do that you can just go for it, and hopefully the performance comes through.

You're going to react to a painting in a way that the painting demands you react.

With any character I have played, there's infinite possibilities for how they might behave, depending on who they are talking to or how they react to things.

I can't imagine how people will react to my music. For me, it's a really fluid process from one record to the next, but it's really up to the listener.

With actors, it's really about feeding them all the time. I don't get involved in their process. I try to do the opposite, feeding them, feeding them, feeding them, and you can see very easily how they react to it.

It's difficult to identify why two cultures will react differently to the same sport.

Music is very abstract. When we talk about music, we're not discussing the music itself but rather how we react to it.

I always feel like you never know: sometimes you can put out work that you feel is really strong, and other times, you can put out work you think is less strong, and people react to it, so it's kinda like in the eye of the beholder!

Most actors work on a scene, I try to find out who the character is. So when a scene or a moment comes, I react the way she would react.

Drawing will never go out of date because, you know, you've still got to have the imaginative thought. You've got to react to the world in the present and do a drawing.