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You have to understand how the human eye behaves when it views a scene for the first time. Work with that knowledge, and your paintings will have more drama and will evoke strong reactions.
In the beginning, it wasn't even a question of deciding I'm going to do independent film and not commercial films - I wasn't being offered any commercial films, and there wasn't an independent scene.
I think it's important to keep the audience interested. But the best advice that I've gotten is to live in the moment. Sometimes you can get too into your head when you're in a scene.
It's funny that some ideas start with a little "What if?" and then suddenly you're spending a million dollars to shoot the scene and hoping that it works.
Taking photographs can assuage the itch for possession sparked by the beauty of a place; our anxiety over losing a precious scene can decline with every click of the shutter.
Terrorism and the whole drug scene are vivid examples of the fact that what persons abhor most of all in life is the possibility that they will not matter.
The wholeness, coherence, identity, which we attribute to the depicted scene [in a photograph] is a projection, a refusal of an impoverished reality in favour of an imagined plenitude.
The whiskey died away in time and was renewed and died again, but the street ran on. From that night the thousand streets ran as one street, with imperceptible corners and changes of scene.
I'm always working in this universe - whether picturing hamburger joints, Virgin Marys, domestic scenes - using these "vacant-faced" women as a medium to question universal truths.
I hadn't been a recording artist all that long when albums came on the scene, and I was one of the first singers to point the way to how varied an album's contents could be.
People in Philadelphia are a world apart from New York. They're very different from people in the New York scene. The New York scene wants your visibility and wants your money.
On a fair prospect some have looked, And felt, as I have heard them say, As if the moving time had been A thing as steadfast as the scene On which they gazed themselves away.
Sometimes you can write a great scene, but when you're actually in a situation and it doesn't work, you have to be flexible enough to make it work for you.
I was always intrigued with European cinema, and hated most American cinema. I didn't like the one, two, three - boom! style, with a neat and tidy ending. That was never my scene.
I believe that unless it's a scene where I'm alone, then of course I could do what I want but I think good acting is about what happens between people, not on your face and my face.
I like to tell students, 'I didn't burst on to the literary scene.' I'm never good at things at the beginning. I was terrible at the start. I need to work and work.
I love doing film soundtracks and working with directors on how they want the scene to be portrayed on audio as opposed to visual. I like the collaborative effort of working with people.