I think if you touch ordinary people, they're simply ordinary people, the way they've always been. They work hard, they don't have really as much as they should.
A photocopier is a camera in its own right. I was fortunate to grow up in the time and culture that I did. I was allowed to develop an awareness that the art that really moves me is actually based on an original image.
Christians talk as though goodness was their idea but good behavior doesn't have any religious origin. Our prisons are filled with the devout.
I don't differentiate much, except in degree, between people who believe in religion from those who believe in astrology, magic or the supernatural.
I am finally getting the chance to build large structures and break preconceptions that my designs are just sculptures for people to be in. But my work always comes down to the human scale.
My mother is a special story. She went through so much to bring us up, four men at home, especially when our country was going through really difficult times.
I have a need to make these sorts of connections literal sometimes, and a vehicle often helps to do that. I have a relationship to car culture. It isn't really about loving cars. It's sort of about needing them.
[Andy takes a swig of beer, leaving a "moustache" of froth on his moustache] Nicholas Angel: You've got a moustache. DS Andy Wainwright: ...I know.
Tommy Williams: I don't read so good. Andy Dufresne: Well. [pause] Andy Dufresne: You don't read so *well*. Uh, we'll get to that.
This week, the world gathers in Beijing for the 2008 Olympic games. This is the extraordinary moment China has been dreaming of for 100 years. People have been longing for this moment, because it symbolises a turning point in China's relationship wit...
People used to say, 'Andy Serkis lent his movements to Gollum,' and now they say, 'Andy Serkis played Caesar.' That's a significant leap.
Halfway through any work, one is often tempted to go off on a tangent. Once you have yielded, you will be tempted to yield again and again... Finally, you would only produce something hybrid.
Memory is very important, the memory of each photo taken, flowing at the same speed as the event. During the work, you have to be sure that you haven't left any holes, that you've captured everything, because afterwards it will be too late.
I do everything. Of course, I have 50 people who work for me to do the drudgery of mold making and all the foundry. This is an enormous task. But every stroke in these sculptures is from my hands.
Red: [narrating] Not long after the warden deprived us of his company, I got a postcard in the mail. It was blank, but the postmark said Fort Hancock, Texas. Fort Hancock... right on the border. That's where Andy crossed. When I picture him heading s...
[after Tommy told the story of how he got arrested] Andy Dufresne: Maybe it's time for you to switch careers. Tommy Williams: Huh? Andy Dufresne: What I mean is, you don't seem to be a very good thief, maybe you should try something else. Tommy Willi...
Art work is inconclusive. It opens your mind up. At least, that's what I hope it does. And advertising, using exactly the same photograph, closes things down. It makes it conclusive. It sells a product, and that is its primary function.
I went to school at the San Francisco Art Institute, thinking I was going to become an art teacher. Within the first six months I was there, I was told that I couldn't be an art teacher unless I became an artist first.
I have no real training in the history of fine art or furniture; my eye just works by proportions. I react intuitively. In London, it's all about color because the weather is so gray, and in that cold light they look beautiful.
Black-and-white photography, which I was doing in the very early days, was essentially called art photography and usually consisted of landscapes by people like Ansel Adams and Edward Weston. But photographs by people like Adams didn't interest me.
I'm a thousand different people. Every one is real.
