Quotes About Interpretation

I'm an avid reader myself, and what any one reader accesses at any one time is very powerful and personal to them. Clearly you can't even begin to touch that. A novel is a singular vision, and then a myriad of readers have their own experience of that.

When I start thinking about a role, I read the script a few times and then let it sink in - and then take some time to develop how that character is going to play out and what he's going to do.

Most of my reading is based on what I'm working on. I did a series of paintings based on the seven deadly sins, so I read Dante and then Milton's 'Paradise Lost.' That was a bit hard going.

I differ materially from Capt. Lewis, in my account of the numbers, manners, and morals of the Sioux.

One can easily tell that the creator of the paintings in the Sistine Chapel was above all a sculptor.

It would have been the equivalent of Jackson Pollock's attempts to copy the Sistine Chapel.

Now we sit through Shakespeare in order to recognize the quotations.

Cell culture is a little like gardening. You sit and you look at cells, and then you see something and say, 'You know, that doesn't look right'.

There's always a message in my music, you just gotta be able to just sit there and be open-minded.

I think of everything as comedy, but I don't think of it in terms of sitcom comedy, I think of it in terms of Chekhov comedy. Chekhov called his plays comedies. There's always a mixture of a laugh with sadness. So the plie to the laugh is sadness.

I'm an artist who works with pictures and words. Sometimes that stuff ends up in different kinds of sites and contexts which determine what it means and looks like.

Seeing sites and features in places where we never looked or never thought things might exist is causing archaeologists across the world to think deeper about their sites or entire cultures.

Of course, you always think about how it will be read. I always aim for a reading in one sitting.

When you start creating opinion, and you start creating difference of opinion, you're doing something. People are actually sitting down and critiquing. A lot of the stuff people hate, they really don't. They only look at the outer shell. They don't really get into it.

I'm responsible for what I say, but I'm not responsible about how people interpret my situation.

It's not the situation... It's your reaction to the situation.

When I go onstage, every situation I have to play, I feel pain. When I sing 'Madama Butterfly' I feel completely everything she felt: It's horrible.

I'm not in the business of telling people what to do. I'm much more in the business of describing things, situations and stuff like that and leaving them out there, and you can make up your minds about them.

I can be collaborative, for instance, in situations where I go and study the artist's work before I start writing. Then I can at least try to write towards their style.

When you make a film like this, you must have the highest expectations of your audience. Having worked in situations where we have the lowest expectations of our audience.

Most people laugh at situations rather than a tagline anyway.

One of the things I've started doing lately is tracking my dreams. I feel like there's a lot of information there and you can really bring those emotions to the situations that may feel mundane or familiar. That gives them new life and gives you a new relationship with it - if that makes any sort of sense.

You have more creative freedom with writing, in certain ways, because you can create everything that happens. But, as an actor you also have creative freedom because you don't so much focus on what has to move the story along, and only on how your character is reacting to situations.

I write music to both the situations and the lyrics in plays.