Quotes About Interpretation

Albers celebrated the way that color and line have no truth of their own; what matters is their perception, which depends on what is adjacent to them.

For Josef, the goal of art was to reveal new ways of seeing, "to open eyes.

A language brings with it a mass of perceptions, clichés, judgements and inspirations.

A girl wearing a red dress in a forest will be some strange vision of unexpected eroticism, but a girl wearing a red dress on a catwalk will be highly predictable.

The romantics would call this a love story, the cynics would call it a tragedy.

To me, he was saying that our reality is shaped by our perceptions. That something is good or bad only because we- you and I- believe it to be so, based on our own experiences.

Every actor has his or her own style, so it is the duty of the director to mould it the way they want.

I am not satisfied with the ending of 'Mount Eerie' the album, so maybe by calling myself that, I am attempting to elaborate on the ending.

I think it's an individual thing. Your mountains are my molehills.

But I don't want to sing everything out of the side of my mouth, I want people to understand what I mean.

You can convey a lot of emotion with just some eyebrows and mouth movement.

I hate when people don't hear the actual words out of your mouth or even the intent of it. They just hear something completely different.

Actors are magical people. They can take words you wrote and say them in a way that, although you thought the line was good when you wrote it, it's fantastic when it comes out of their mouth.

All the talented and smart actors, they get it: as soon as it comes out of their mouth, they know if it's right or wrong. If the writing has a particular voice, they get it, and they can hit it.

It is our interpretation of the past, our limiting beliefs, and our undigested pain that stop us from being able to move forward with clear direction.

That's what the best art does, it starts the conversation. What you may see in a scene or a line isn't what I might see, but that conversation we have, that's how we move forward.

Often, if I read a story and I'm moved, I have an understanding for a character and I don't really know why.

My body can't demonstrate. It isn't willing to explore movements the way it used to. I've always had to find the movement in myself then show it in myself. If I've got the sense of movement for the character, I expect the dancer to get it too.

It's fine with me if people want to applaud between movements of a concerto. It doesn't bother me - it's part of performance experience.

If you can find a way your character moves, you know more about your character than you'd ever dream.

When a script moves me, I find that I immediately understand a character. Of course not completely, but I do understand.

I don't think of myself as a dancer. I think of myself as a singer-actress who moves really well.

If it's got the feeling, if the music moves you or not, it doesn't matter what the genre is to me.

That's exactly why I came into music in the first place: to be inspired by what I hear to make it something else, to make it my own. That's how culture, creativity, moves, isn't it?