I always feel the desire to look for the extraordinary in ordinary things; to suggest, not to impose, to leave always a slight touch of mystery in my paintings.
Painting is a language which cannot be replaced by another language. I don't know what to say about what I paint, really.
The craft of painting has virtually disappeared. There is hardly anyone left who really possesses it. For evidence one has only to look at the painters of this century.
Imitate. Don’t be shy about it. Try to get as close as you can. You'll never get all the way, and the separation might be truly remarkable.
I mean, you can't walk down the aisle in Westminster Abbey in a strapless dress, it just won't happen - it has to suit the grandeur of that aisle, it's enormous.
I always sleep on my own. I can't sleep with somebody else. Always separate bedrooms, bathrooms and closets. I'm very individual and I want my own space.
My works really begin in a very simple way. Sometimes it's an image, and sometimes it's words I might write, like a fragment of a poem.
My first conscious thought of 'I should be like that and not like this' was probably at about six, and I was playing with... I have a twin brother, and we were playing with our twin cousins, who are a boy and a girl.
I grew up being really insecure and dumped on, over-feeling certain things in a negative way. So I thought I had something to prove.
I don't feel so sad when somebody dies, Julio, because they fly away to explore the stars and planets. When it's our turn we join them in exploring the universe.
My inners are not organs. They're actually mechanics, so I have a hole in my back, wind me up like the movie 'Hugo,' and then just say, 'Act,' you know?
I'm an artist and an engineer, which is, increasingly, a more common kind of hybrid. But I still fall into this weird crack where people don't seem to understand me.
If a man does not work passionately - even furiously - at being the best in the world at what he does, he fails his talent, his destiny, and his God.
I always figure I have this tree and there's always some green fruit that's not ready to pick or blossoms that are ready to flower; there are always some ready to drop off too.
It's the emotional trigger points that are important to me because I know if I could believe in the characters and try and imagine how they felt then I'd be able to do something quite honest.
But I also wanted to give them an intelligent emotional journey, without having to suspend reality - to be able to look at those characters and see reasons for the relationships and why what happens happens.
If you look at a multi-player game, it's the people who are playing the game who are often more valuable than all of the animations and models and game logic that's associated with it.
A lot of times I make people better by getting stupid, distracting, bureaucratic stuff off their desk. That's an incredibly easy way to make a senior person more productive.
Photoshop should be a free-to-play game. There's not really a difference between very traditional apps and how they enhance productivity and wandering around a forest and killing bears.
To people who traditionally charge $10,000 for a 3D animating app, we say you should be free-to-play and generate a revenue stream. Think of a 3D modeling package almost like an RPG.
I think that an artist is a bit like a computer. He receives information from the world around him and from his past and from his own experiences. And it all goes into the brain.
