Capucci was the biggest schooling I had. It wasn't just about the technical knowledge, such as color and volume, but also about the secret rules, and the beautiful codes of respect between the atelier and the master.
I passed a typing test and became a member of the staff of Rear Adm. Newton.
Claude Lacombe: [to Roy Neary] I envy you.
The work itself has a complete circle of meaning and counterpoint. And without your involvement as a viewer, there is no story.
It's harder for me to work on a Forrest Gump kind of movie, where everything is invisible.
I refuse to work unless I get paid, so I don't get a lot of work sometimes.
Museums are not normally presenting the works on the walls as provocations to work. It's more like going to a Jacuzzi.
Brad Neary: I don't understand these fractions. Roy Neary: What's one third of sixty? Brad Neary: [bewildered] That's a fraction, I don't understand them. Roy Neary: [using a model train as an object lesson] Alright, let's say that this boxcar is six...
Pop Fisher: I'd have walked away from baseball and I'd have bought a farm. Roy Hobbs: Nothing like a farm. Nothing like being around animals, fixing things. There's nothing like being in the field with the corn and the winter wheat. The greenest stuf...
A lot of what making art is, is just being open, and empty. And putting yourself in the right place for things to, literally, come together.
I wanted to do dance with the same seriousness as art was done and acknowledged, not with the entertainment factor that is always connected to theater and film.
I thought I'd gone to heaven, because I grew up watching Roy and Gene Autry.
The relationship between the public and the artist is complex and difficult to explain. There is a fine line between using this critical energy creatively and pandering to it.
But Roy Rockwood, it was science fiction for the sake of science fiction.
The scientist and the artist are both passionate about their exploration. What leads to my work is that I'm equally an artist and an engineer.
You find me at work; excuse the dust on my blouse. I sculpt my marble myself.
I think it is important for software to avoiding imposing a cognitive style on workers and their work.
I always feel like it is a privilege to be able to be an artist and to be able to exhibit my work all over the world.
My work rarely comes up in secondary market, so it means that my prices stay low.
A standard line, promoted by people like Clement Greenberg, is that politics contaminates art, and Manet is often cited as an example of art for art's sake.
Artists and art institutions have to learn how to play hardball. A democratic society needs a democratic art and we have a right to demand it.
