Lawrence Halprin Quotes

Every single work of art is the fulfillment of a prophecy; for every work of art is the conversion of an idea into an image.

I refer to what I do as 'conceptual portraits,' meaning that I come up with an idea or concept that I would like to explore, and then I find people that fit that idea.

Design is an unknown.

A design that I create is like my own extension. It's 'thinking made visible.'

My approach to portraiture is conceptual.

You never really know what the director has got in his mind as far as the scene visually and art direction wise, etc. Even if you do, sometimes there's a side of things that don't necessarily gel the way people intend. So there a bit of a mystical entity, film.

Creativity is the process that gives life to a new product.

Design is a thinking process that starts in the head and with sketches. Thinking cannot be done by a computer.

Painting is a strange business.

Every piece of technology, every piece of art, basically everything manmade comes from an idea.

I was trying. I was crawling. I was coming into myself. I was trying to in some ways get beyond - what is the word that I'm looking for? - metaphorical language in painting, and to create something that was more indexical. And what I mean by that is that when you go to the library there's an index card that refers to a book that's actual and real in the world. So that index relates to something real.

In Japanese organizations, before you have a meeting and you've got an idea that you want to get across, you go talk to everyone and list them. And then the meeting, you don't do it American style where everyone gets up and advocates and conflicts and decides, you get up and formalize agreements.

If you can talk about it, why paint it?

The actor shouldn't edit themselves or be anxious. And the actors that I admire are always the ones who are inventive and their imaginative life in free-willing. It's a director's job to go, "No here, don't do that, go there."

It seems to me it's a painter's duty to try to put an idea into his work.

As I get older I find myself thinking about stories more and more before I work so that by the time I eventually sit down to write them, I know more or less how it's going to look, start or feel. Once I do actually set pencil to paper, though, everything changes and I end up erasing, redrawing and rewriting more than I keep. Once a picture is on the page I think of about ten things that never would have occurred to me otherwise. Then when I think of the strip at other odd times during the day, it's a completely different thing than it was before I started.

I keep on having ideas and developments. Some happen and some don't, but I still always have a way of telling a story.

What is drawing? Not once in describing the shape of the mass did I shift my eyes from the model. Why? Because I wanted to be sure that nothing evaded my grasp of it... My objective is to test to what extent my hands already feel what my eyes see.

For a painter as abstract as myself, the collages offer a way of incorporating bits of the everyday world into pictures.

Drawing is your understanding of form.

It's a little bit like talking about the life of writing. The life of writing may be about many things, but it always begins with the writer. With the kernel of an idea, or a character, or an idea or a theme, or even an outcome. But for documentary photographers, photographs begin at that intersection of the real world and the imaginative inner world.

When you're in a band and write a song on your own, it isn't fully realized until it goes into somebody else's ears.

Working with the kind of talent that I've gotten to work with, like the cast of Sin City, it makes me think probably more fully dimensionally about what is going on behind their eyes. But I draw the way I draw, and ain't nothing gonna change that. Although, I draw Marv and I think, "Boy, I could throw a little Mickey [Rourke] in there."

It's one thing to be sitting at a drawing board, alone in your home and coming up with a fantasy character, and drawing her whichever way you feel like drawing, then dealing with a real performer. All of a sudden, things change. It's amazing, in working with actors, how much I learn from them and how many new lines will come to mind because of their personality or their strengths.

When you draw something it lives and when you photograph it it dies