Georgia O'Keeffe 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.

What a song is is a subjective thing. There's no one real definition for it.

One can't paint New York as it is, but rather as it is felt.

There's no being wrong in seeing something in art, only being disagreed with.

It's not my job to tell people what a work means.

Literature adds to reality, it does not simply describe it.

I think artists are going to express things from an emotional point of view, that's their job, to suggest and interpret, and report what they witness. That's their job as artists, you're looking for the rub, where's the rub, you're a storyteller, you're looking for the rub, not necessarily the solutions, or you're not necessarily educated, you're not the winner of a debate contest, a national debate contest, you're not necessarily a person who has a doctorate in anything.

Is the Mona Lisa an 'accurate' representation of the actual human model for the painting? Who knows? Who cares? It's a great piece of art. It moves us. It makes us wonder, makes us gape - finally makes us look inward at ourselves.

In painting you must give the idea of the true by means of the false.

Art is so subjective, and people can react however they want.

I think no artist can claim to have any access to the truth, or an authentic version of an event. But obviously they have slightly better means at their disposal because they have their art to energize whatever it is they're trying to write about. They have music.

On occasion, I hear a rearrangement of a song that really makes me reevaluate it in a way.

A lot of the songs on '2' are pretty personal, but even if I'm writing about something like that, I still tend to keep it pretty simple and open-ended. I like the idea of people listening to my album and it meaning something to me but maybe meaning something else to them.

I have a slight controversy with the Dogme brethren because I've been saying that rules are to be interpreted; not that I haven't followed the rules, because I don't see the point of submitting yourself to a set of rules if you don't follow them. But having said that, it is always a lot of interpretation.

You make a movie, and if somebody reads something into it, then great, more power to him.

I do not literally paint that table, but the emotion it produces upon me.

Every viewer is going to get a different thing. That's the thing about painting, photography, cinema.

That's what I paint, I paint people. They're portraits, but you won't always be pleased with the way you look in my paintings. Which is fine, I guess. Unless you're buying it, and it's of your kid!

To me, the ultimate crime in an adaptation is the crime of reverence. A novel is one form of media, a screenplay is another, and a movie is yet another. There's even reverence to a screenplay.

I try not to spend too much time interpreting my comics for people, because I try to put out there whatever I can, and people can draw whatever conclusions they want.

I think plays deserve other interpretations. They should live on, and other people should should take their hand at them. I'm very supportive of that.

I'm not that interested in recreating reality. I'm interested in recreating an emotional truth.

In 'The Serpent's Egg,' I created a Berlin which no one recognized, not even I.

It is important to consider that the horror movies should - like modern art - not have a too obvious meaning. When you watch them, it is more important what you feel than what you understand.

Telling someone about what a symbol means is like telling someone how music should make them feel.