I spend a lot of time preparing. I think a lot about what I want to do. I have prep books, little notebooks in which I write everything down before a sitting. Otherwise I would forget my ideas.
My effort has been not only to put the Biblical incident in the original setting... but at the same time give the human touch to convey to my public the reverence and elevation these subjects impart to me.
My efforts have been to not only put the Biblical incident in the original setting, but at the same time give the human touch which makes the whole world kin and which ever remains the same.
The physical characteristics of the child Jesus will always remain a point of discussion. No artist has ever produced a type, nor ever will, that has in it all that the varying minds of all time will acknowledge as complete.
In abstract painting, I worried about the limited range of possibilities that, as time went on, became increasingly important to me. I wanted to express or deal with differences that an all-over paint and canvas 'presence' neutralized.
If you shoot with a billion cameras, then there's no perspective. You want to use one shot at a time, so it's better to discover what that is before you shoot, rather than trying to make something in the cutting room, and then it just becomes generic...
The work that I feel is most authentically mine is the one that is my first reaction, the first thing that feels like the truth. In aggregate, those choices, those series of decisions, create your point of view, your visual language.
Mikey: [to Andy after she hits a wrong note on the piano] It's OK, you're a Goonie and Goonies always make mistakes... just don't make any more.
Andrew Beckett: I appreciate your faith in my abilities. Charles Wheeler: Faith, Andy, is the belief in something for which we have no evidence. It doesn't apply to this situation.
Andy Dufresne: I understand you're a man who knows how to get things. Red: I'm known to locate certain things from time to time.
[Tommy and Red are talking about Andy] Tommy Williams: What's he in here for, anyway? Red: Murder. Tommy Williams: [Impressed] The hell you say!
Woody: Your'e right, Prospector. I can't stop Andy from growing up... but I wouldn't miss it for the world.
[Buster the dog is barking and trying to leave Andy's room] Slinky: Ah, this fella says he needs to go out back for a little private time?
Jessie: Woody, we were wrong to leave Andy. I - I was wrong... Mr. Potato Head: Jessie's right, Woody. She was wrong.
Rex: What if Andy gets another dinosaur? A mean one? I just don't think I can take that kind of rejection!
I think the guys who are sort of infantry in Somali piracy are not unlike low-level drug dealers in urban areas in America, who see it as, you know, not having many other options. I think it comes down to money and needing to survive.
The disaster in the Gulf was no accident. It was the result of years of oil money buying off politicians to lead to an unregulated and ill focused addiction to oil and drilling. The doomed fate of the local fisherman and the environment were foretold...
I'm not satirical in a traditional way. What I do is more about creating caricatures and cartoons. I am commentating on the nature of how we live through photography, and how you can twist an angle to create a different perception of a person.
I grew up in Belle Harbor, which is in New York City, but it has the most powerful sense of nature and seasons. It wasn't even the beach and the water. I just dreamt about everything that had to do with nature. I read about Thoreau.
I think that designers have an incredibly broad creative repertoire. They solve. They create images of perfection for any number of clients. I could never do that. I'm my client. That's the difference between an artist and a designer; it's a client r...
People have a very proprietary relationship with Superman. It's important to respect the iconography and the canon, but at the same time, you have to tell a story. Once you land on who you think the character is and what his conflicts are, you have t...
