Colin Farrell Quotes

I think writers like to see how people bring their words to life, and it's always surprising. Always, no matter what, whether it's good or bad, it's always surprising because a whole human being is coming to that piece of writing.

And I like to interpret music. So I think it's all interpretive.

When something is written for you or handed to you, sometimes there's a very interesting dance as you discover what it is that's required.

Of course I'm schooled in the old school method: taking what I think the director wants, then reworking it through my own brain and heart.

What higher art does is to invite us in and allow us to make decisions.

When you try to put everything into music, there's no room left to try to make you think we're cool. We know you think we're cool.

Love is art, not truth. It’s like painting scenery.

I let myself go. I thought little of the houses and trees, but applied colour stripes and spots to the canva... Within me sounded the memory of early evening in Moscow, before my eyes was the strong, colour-saturated scale of the Munich light and atmosphere, which thundered deeply in the shadows.

To create is to relate. We trust in the artist in everybody to make his own connections, his own juxtapositions.

I just try to find targets I feel something about and express it my way.

The paintings usually start as abstracts and then I look at them and look at them, and like a Rorschach test, I try and see what it is.

I think every time you take on a new role, you're trying to help find that voice and you add your own bits and pieces along the way but with Noah [Baumbach] it's already done.

My work doesn't have the same rules as, say, Andy [Warhol]'s work. But it's gathered together for the simple reason that we all worked with the images and objects around us.

If I was an artist, and I was in the studio, then whatever I was doing in the studio must be art.

I do what I can to convey what I experience before nature and most often, in order to succeed in conveying what I feel, I totally forget the most elementary rules of painting, if they exist that is.

All worthy work is open to interpretations the author did not intend. Art isn't your pet -- it's your kid. It grows up and talks back to you.

The Coens both give you direction, and then it's up to you to kind of figure out the music of what they're saying.

You may dream freely when you listen to music as well as when you look at painting. When you read a book you are the slave of the author's mind.

Early in my career, a critic said that I needed to "explain" the irony in my work, suggesting that I needed to add text next to the images to help people understand what I was trying to say. At first I was dismayed that I wasn't making work with a clear enough message. That's when I realized that that was the exact opposite of what I wanted to do - that I wasn't responsible for a misinterpretation of my work, that there should be some ambiguity to it. They either got it, or they didn't.

...what I try to do is a good bad picture. I work it out very carefully, and then I do something that looks as if it went wrong.

I destroy the painting as soon as I can see what it is. When I can make out something in it, I destroy it because it's no longer coming from my unconscious.

What is great about art and artists is that we get to ask the questions, even though we may never know the answers.

The painter doesn't try to reproduce the scene before him... he simplifies and eliminates until he knows exactly what stirred him, sets this down in color and line as simply and as powerfully as possible and so translates his impression into an aesthetic emotion.

I write about what I want to write about, and so the film comes out as a very personal expression even if its subject matter is totally prefabricated.

I'm not just interested in the pictorial aspects of the landscape - see a pretty place and try to paint it - but in some way to manage it, manipulate it, or see what I can turn it into.