Quotes About Interpretation

Good actors never use the script unless it's amazing writing. All the good actors I've worked with, they all say whatever they want to say.

Nature is a book, a letter, a fairy tale (in the philosophical sense) or whatever you want to call it.

Actors want to do Shakespeare again and again, or want to do Hamlet. When you hear one guy do Hamlet and another guy do it, it's going to be a whole different experience.

It is all very well for people with fine arts degrees, but for ordinary people like myself, we want a statue to look like the person.

It's a movie depiction you don't want to screw up.

People write music, and the music is out there for people to interpret it how they want to.

I use my hands like a sculptor, to mold and shape the sound I want, to clarify.

People want Art. And they are given it. But the less Art there is in painting the more painting there is.

People aren't interested in blueprints; they want to sense the painter's involvement and pleasure in the subject. . . . Paint a sense of place.

Listen: if I am a painter and I do your portrait, have I or haven't I the right to paint you as I want?

People see what they want to see.

To me, as a visual artist, I don't want to get into the theory of Buddhism. There are many Buddhism theories and they fight each other, like Christians as well.

Honestly, I am so ignorant of how dance works that I cant even imagine a story that you would want to tell through movement.

You have to be respectful of pop culture, because people interpret it in the way they want.

Other people's creativity inspires me. Seeing great art, or reading a fab book or watching an interesting documentary or an exciting film - these things make me want to let my own imagination fly.

Big data is great when you want to verify and quantify small data - as big data is all about seeking a correlation - small data about seeking the causation.

Braque always said that the only thing that counts, in painting, is the intention, and it's true. What counts is what one wants to do, and not what one does. That's what's important.

I think we take the history we want to take in order to back up the stories we want to hear.

It's always funny to me how your movie becomes no longer yours and people interpret it how they want and react how they want to react to it, and it's fun to kind of watch that happen.

One of the main things when you get notes from a studio is they don't want anyone to be confused ever, everything has got to be so obvious at all times unless it's a twist ending.

I see myself as a storyteller. So, when I read something, I see the story, and I see it on screen, in my head, in a certain way. I always want to see it and see me in it.

I try to always be open to what the actors want to try. I don't storyboard and try to be intuitive and open on the day of filming.

I don't write books for people to be friends with the characters. If you want to find friends, go to a cocktail party.

If what you want to paint is the emotive mood in all its strength... then you must not sit and stare at everything and depict it exactly as one sees it.