Chester Bennington Quotes

One describes a tale best by telling the tale. You see? The way one describes a story, to oneself or to the world, is by telling the story. It is a balancing act and it is a dream. The more accurate the map, the more it resembles the territory. The most accurate map possible would be the territory, and thus would be perfectly accurate and perfectly useless. The tale is the map that is the territory. You must remember this.

It is no use describing a house; the reader will fix the scene in some spot he knows himself.

Everybody has their thing they like or don't like to see. It's all in your head. That's why people take their own pictures, because it's difficult for someone else to capture what you seek.

We scarcely know how much of our pleasure and interest in life comes to us through our eyes until we have to do without them; and part of that pleasure is that the eyes can choose where to look. But the ears can't choose where to listen.

On TV the people can see it. On radio you've got to create it.

To put down an ideogram of a table so that people will recognize it as a table is not the work of a painter, but to sense it for a moment as a magic carpet with a leg hanging down at each corner is the beginning of a painter's imagination.

The mind of the painter must resemble a mirror, which always takes the colour of the object it reflects and is completely occupied by the images of as many objects as are in front of it.

The ear is the only true writer and the only true reader.

If you judge everything by how photographically real it looks, then you're missing out on a lot of what art is about and what communication is. There are ambiguities in life, and that should be reflected in art, cinema, and storytelling, I think.

It is only in appearance that time is a river. It is rather a vast landscape and it is the eye of the beholder that moves.

I see things with my own eyes, just as if they were the first eyes that ever saw, and then I set about to tell, as best I can, just what I've seen.

The longer I look at something, the more my imagination churns and I can find somewhere to put it.

Through writing, one experiences something different to what one experiences with the five senses one has because language is a different metier.

There's something really magical about trying to see things in new ways that go beyond, in some sense, the biological human experience. Light-field photography, too, goes beyond the human experience because our eyes work like conventional cameras.

We take so much for granted; we can't imagine life without our five senses. I sometimes would wonder what it would be like if I suddenly couldn't see one day.

I'm a relentless sketcher. It goes back to how you process the world around you - the whole left-brain, right-brain thing. Some people are data-driven. I've always been more visual.

I think, as human beings, we all have a fundamental mode, a basic way of relating to the rest of reality, and for me, it's always instinctively been about sound making and trying to extract information, grammar, meaning from sound making. That's been my way of navigating reality that's very personal; a painter might say they make marks or look.

Color is just in a small area of our vision, and the rest we add with the mind.

I am interested in relating the things we see with the things we see with our eyes closed.

The voice is nothing but beaten air.

A really intelligent man makes an indifferent painter. For painting requires a certain blindness, a partial refusal to be aware of all the options.

To suggest is to create; to describe is to destroy.

Are you then unable to recognize unless it has the same sound as yours?

I was still using my eyes even though I had them shut.

I'm very interested in the question of how we perceive something, how consciousness goes from one thing, like looking at you in your black hat to what it might mean to my imagination and how I would draw that or write that, how I would subjectify you? It's something that is endlessly interesting to me.