Quotes About Interpretation

I don't think I make much of a distinction between the 'real' and the 'fantastic.' They both seem to be threads in the same cloth as far as I'm concerned.

Threat is in the eye of the beholder.

The forgiveness that comes of patient interpretation seems impossible when those nearest to your heart are threatened.

I think I've gotten that before - people have been like, 'Oh, you have a creepy stare.' My energy personally is not as threatening, I don't think.

There are three kinds of lies: lies, damned lies, and statistics.

I've always been fascinated by Picasso and how he would look at a single image through multiple perspectives and from separate moments in time. He would look at a woman's face and he would see almost a three-dimensional look even though it was a flat canvas. I thought, well why couldn't we do the same thing with a football play?

There is something I feel when I animate something; you can never really understand the character you're animating unless you've had the opportunity to turn it around. Once you've done that, you know it is a three-dimensional object.

Going from the written, flat word to the three-dimensional object, that was one of the more enriching things that I've done.

I mangle phrases constantly. The other day I was chatting with my boyfriend and I said to him, 'He really sold him under the bus.' And he said, 'I think you meant 'threw him under the bus,' or 'sold him up the river.'

I know better than to read reviews but I do it anyway. Somebody described my pacing as 'glacial.' I wasn't thrilled, but I think they meant it in a not entirely unflattering way.

I did turn down 'The Virgin Suicides.' I talked to the producers about it, and I just honestly told them that I didn't get it. Is it supposed to be funny, is it a thriller, what is it?

I enjoy being given a certain amount of freedom in order to interpret or to come up with stuff, but I do enjoy collaboration. I seek and thrive on projects where I am going to learn from the people I'm working with.

Poetry comes alive to me through recitation.

I know nothing of life except through the cinema.

We all have mental models: the lens through which we see the world that drive our responses to everything we experience. Being aware of your mental models is key to being objective.

Poetry is the opening and closing of a door, leaving those who look through to guess about what is seen during the moment.

Nothing exists except through language.

My paintings do not have a center, but depend on the same amount of interest throughout.

Throughout this evolution from left to right, Beard always detested war. Hence his writings were slanted to show that the military side of history was insignificant or a mere reflection of economic forces.

Sometimes we misunderstand what films can do. We just throw a whole book in there, with people just talking, talking, and talking. The picture can tell, the frame can tell.

My advice to anyone adapting a novel is that once they've read it and learnt to understand it, then they must throw it away and never look at it again!

Some stage directions you just simply have to throw away.

Art is a dialogue. I'm throwing rocks across a chasm and hoping people catch them on the other side.

I think when a lot of actors hear improv, they think of throwing a line in or doing a slightly different take.