Dana Schutz Quotes

Once they're on paper, they're gone. I like to do as much with the words, as far as image goes.

I use a lot of film images, analogies, and imagination.

When I'm drawing a bottle or a town or a market, I transport myself there. So I start drawing everything that I'm looking at while I'm there. Here's a guy selling the meat, and he will have a hook, and you start adding things, and it's a lot of fun.

The way Pixar has always worked is that we think of an idea and then we make it. We don't develop lots of ideas and then pick one.

To me, writing and composing are much more like painting, about colors and brushes; I don't use a computer when I write, and I don't use a piano. I'm at a desk writing, and it's very broad strokes and notes as colors on a palette.

I'm like a magpie. I use lots of different things to build a character.

I think stories can grow out of the visual. It can be an engine for literacy.

I think when I'm drawing, I'm seeing what's happening on the page almost as if it were unfolding like a movie in my head.

When I make a movie, I have both a specific and vague, amorphous dream idea of what the movie is going to be. Of course, I don't actually know what it's going to be, but I'm still striving to get to some place with it.

My films usually start with an idea that I get while walking the streets. For example, I got the idea for 'Guard Dog' when I was walking in the park and I saw a dog barking at a bird.

I have seen too many screenwriters of promise become formula addicts and slaves to stop watch structure. Spend that time watching movies, reading screenplays, reading plays, and most importantly - write from your gut.

The opportunity to create a small world between two pieces of cardboard, where time exists yet stands still, where people talk and I tell them what to say, is exciting and rewarding.

I try not to picture a reader when I'm writing. It's like trying to make a great table but not picturing anybody sitting at it.

I sometimes think that what I do as a writer is make a kind of colouring book, where all the lines are there, and then you put in the colour.

I don't tend to cast roles in my head because I spend so much time with these characters and the drawings that they're complete in themselves, you know what I mean?

This is what I like about being a designer: You can't really get it until you see it.

I pick up my pen. It flows. A building appears. There it is. There is nothing more to say.

I love being able to create something from the page and bring it to life.

I read things and imagine them and then kind of start trying to kind of take what I imagine and make it visual for everybody else to see. It just happens to be my personal vision, and every person's is going to be different, every book reader.

In any great art, you create a world, and you invite people into that world, and hopefully, it's fleshed out enough and you've explained it well enough.

Growing up, I enjoyed drawing, but it was always in the service of an idea. I drew all the time, and I enjoyed making.

I guess I have a fascination with the idea of puppeteering. I think, in a lot of ways, directing is puppeteering. I guess I see a lot of analogies between what puppeteers and filmmakers do.

You are always drawing from your personal life and using your imagination to fill in the blanks.

I can't just go in and throw clothes at a picture. I still have to have some kind of an idea of a character, of who she is, where she's from. It's almost like playing a child's game. You have your dolls, and you create characters for them. Fashion indulged that in me.

The way I build stuff in my mind, it's sort of like a puzzle for me. I always talk about it like, when I'm writing a scene there's a certain feeling I'm trying to create. I'll have my list of scenes and it's more like feelings, these notes I want to hit.