I always feel like the art's there and I just see it, so it's not really a lot of work.
In an artwork you're always looking for artistic decisions, so an ashtray is perfect. An ashtray has got life and death.
People don't like contemporary art, but all art starts life as contemporary - I can't really see a difference.
The difference between art about death and actual death is that one's a celebration and the other's a dull fact.
Art is all about the experience. I could say I don't really relate to opera, but then you watch Placido Domingo, and you go, 'Blimey, look at that.'
For me, being in front of a camera is a matter of practicing and refining your art. I think, if you're telling a story worth telling, it's worth investing the time into developing.
When it came to my art, I went my own way and did not follow the trends.
Good art in general aspires to something, as a good painting aspires to something, almost spiritual or holy.
Basically, I viewed any work of art as an imposition of another person's taste, and saw the individual making this imposition as a kind of dictator.
It is a mistake for a sculptor or a painter to speak or write very often about his job. It releases tension needed for his work.
Not just art for art's sake, but I want to have films out there that will provoke authentic, holistic conversations about the human condition. And not provide the easy answers, but put it out there.
All I want to do is make sure that art is available to all Americans in a participatory way, whether you engage in the art process yourself or you're an audience member.
In visual perception a color is almost never seen as it really is - as it physically is. This fact makes color the most relative medium in art.
My parents were always supportive of me in terms of expressing myself artistically. Art, musical instruments, singing - whatever I did, they were just really supportive.
I wanted to work in the arts. My dream come true would be to be an architectural historian and work with the royal palaces and all the fabulous art collections. But I'm not committed enough.
It's good for art to make us think, to give us a shared experience that creates a dialogue, makes us talk to each other, including strangers.
In the place where I was a child, there were no artists and there was no art, so I really didn't know what that meant.
I think that in Sweden and a lot of European countries, there's this whole mythology of the wounded artist: that you can't really do any great art unless you're suffering.
I can't pretend that I'm a great student of the art of comedy because anybody that becomes philosophical about humour doesn't know what he's talking about.
I have no fear of making changes, destroying the image, etc., because the painting has a life of its own.
I want to try and be as involved in the art of filmmaking as possible. I feel that the only way to really do that is to take on as many roles as possible, whether it be as an actor, an editor, a director, a cinematographer.
