Quotes About Interpretation

I think people just, when you say something in an interview, they really like to make it their own story rather than, you know they like to spin it off, almost.

Lots of times when I'm offered things, I can't see how a story gets filmed. Either it's too internal or it doesn't have a strong spine.

The legs and arms can be a revelation of the back, the spine's extensions.

In my writing class, we never, ever talk about the writing - ever. We never address a story that's been read. I also won't let anyone look at the person who's reading. No eye contact; everybody has to draw a spiral. And I would like to do a drawing class where we could talk about anything except for the drawing. No one could even mention it.

I think when people hear your music, sometimes they get deeply attached to it and think they know something about you, that you're kindred spirits or something.

Apparently Pope John Paul II and his boys - is that what you call them? - loved one of my songs and thought I was putting spiritual messages in my music. I'm not religious as such. Dogma and I don't get along.

I don't think my work is about the spiritual life, but it certainly touches on it.

I'm a spiritual person: I believe that if you read the Bible, you get what you want from it. But, when you actually read it, you see the beauty, spirituality, the joy and love, and what makes us godly.

I get readings, I sometimes get five a week. You'll feel like a schizophrenic by the end of that week. I don't know who I am any more. You'll be in conversation with a friend and start spitting out dialogue.

In big museums, the role of the curator has shrunk in recent years as different branches of curatorial work - such as interpretation, or learning, or conservation - have split off and become professions of their own.

Everybody is different. Some people like to share more. I just wouldn't want to spoil someone's opinion of me by them knowing me as a person instead of an artist.

Pleasure is often spoiled by describing it.

I don't like to get too specific about lyrics. It places limitations on them, and spoils the listeners' interpretation.

Mansa Musa never spoke in public, and whispered everything to an interpreter; he was also never allowed to be seen eating a meal.

I went to see Gerard Philipe and Jean Gabin in pictures. Gerard Philipe spoke beautiful French, while Jean Gabin spoke slang. And after a while I realized that when Gabin said, 'What's up, lady?' it meant the same thing as when Philipe said, 'Good evening, madam.'

It is difficult to know how the Tudors actually spoke because we're going back before Shakespeare; much of the drama from that period is courtly, allegorical.

But as my voice coach keeps saying, if we actually spoke the way they imagine the Elizabethan voice might have been, we wouldn't be able to understand it.

Keats himself spoke about how Shakespeare was capable of erasing himself completely from the characters he had created. As an actor, that is what I'm trying to do.

I definitely have moments in my life where I discovered a film, and the language of the film itself spoke to me in a way, as if someone came up to you and started speaking a language you'd never heard but understood and was able to express things the language you knew could not.

The first time I spoke to Avram Grant, my first question was about his conception of football. He gave me his answer and it was a good point.

I sometimes feel I would like to do crazy things with 'Endgame,' where someone says something, but the words, instead of being spoken, are written words projected out of their mouth.

One of the nuisances of the ballot is that when the oracle has spoken you never know what it means.

The spoken form is in fact a very restrained representation of what is possible in the musical language.

Even to this day, I read things in real time, you know, I don't - like, as if it's being spoken. I can't skim stuff in ways that I know certain people can. I have to sort of hear it in my head to be able to read it.