Quotes About Interpretation

Andy was a nonverbal person; you couldn't get directions out of him. All he knew was what was modern in art was what wasn't art: The telephone was art, the pizza was art, but what was hanging on walls in museums wasn't art.

The audience plays a huge part in how a piece will actually form. They really allow the performers to walk a tightrope in a way that never seems to happen in the privacy of your own four walls. I'm listening to the audience, and they're listening to me.

It was very clear that this was a very, very old site. There were remains of sod walls. Fishermen assumed it was an old Indian site. Bu Indians didn't use that kind of buildings and houses.

My father's work is rather mysterious, not much said, and my grandfather's is robust, bursting off the walls.

If you're not connected emotionally to a story, then you're dead. You're really just opening the door for people to lose interest and their minds to wander, for them to start picking it apart.

I love artists like Jon B, but I don't wanna be compared to anybody. I'm just doing my interpretation of rnb and how someone like me should be doing it.

We only see what we want to see; we only hear what we want to hear. Our belief system is just like a mirror that only shows us what we believe.

In French, there is an old expression, la patte, meaning the artist's touch, his personal style, his 'paw'. I wanted to get away from la patte and from all that retinal painting.

Two people in a conversation amount to four people talking. The four are what one person says, what he really wanted to say, what his listener heard, and what he thought he heard.

Everything has a sort of double meaning for me, there's the ordinary everyday meaning of things, and the imaginary meaning about it all, and I wanted to bring these things together, and in this first big Resurrection of mine you have a good example of this sort of thing.

From my very first movie, what was my concentration, my inspiration, was I didn't want to narrate something, I didn't want to tell a story. I wanted to show something, I wanted for them to make their own story from what they were seeing.

If I get a song - a good song - I just sing it the way I hear it in my head. If anybody else wanted to add whistles and bells and chains rattling, that's fine. Just not too much. I actually just do things as straight ahead as possible.

I couldn't go into the haphazard drawing or the paintings, the splashing of paint. I wanted to go back to a completely dry drawing, a dry conception of art.

If you're trying to learn how to act from a class, you're analyzing the teachers' movements and their intricacies, and it becomes like a pantomime of you wanting to be them, and that's wrong. Literature is an easier way to study acting, because then you can take any kind of spin. It's your own imagination, and your own version of it.

People are always giving you credit for really wanting to say more than you said.

When I was researching my book 'The 33 Strategies of War', I studied Napoleon extensively and I found myself wanting to ask Napoleon questions about things he did, and if was I interpreting his actions correctly.

Wanting to be understood by an audience that didn't know Russian, I tried to paint musical pictures by emphasizing the phrasing, using voice color more boldly, and varying the shade and nuance.

There are Christians who think there were seven actual days, or that creation was over time. They have answers for dinosaurs and things of that nature. And I don't claim to have any of those answers. And I understand people wanting to have discussions about it.

Bill Ward, when you hear his beats, he's not just playing a straight 4/4 beat; he's doing almost a hip-hop beat. There's a song called 'Sweet Leaf.' The drum beat that he's playing, he's trying to kind of swing and funkify it. Now, is he doing a great job of it? Maybe not. Maybe.

Suffice it to say, every actor works differently. Laurence Olivier would put on his costume and when the wardrobe was right, he was in character. That sounds superficial, but it's true, and look at the results.

In order to become a master, you need to emulate. If you're going to be as big as Warhol has become in art, then you have to have younger generations who are exploring your work and trying to understand it like a language.

My work is frequently described as cold, which is baffling, since it seems to me embarrassingly, shame-makingly, scandalously warm. I find my work filled with sentiment, and I can't imagine why people find it cold.

I guess I should warn you, if I turn out to be particularly clear, you've probably misunderstood what I've said.

Is there any purpose to translating poetry? A poem does not contain information of importance, like a signpost or a warning notice.