Nic Pizzolatto Quotes

What I am interested in now is the landscape. Pictures without people. I wouldn't be surprised if eventually there are no people in my pictures. It is so emotional.

I like landscape, I guess. It's kind of a game to see how you can describe it.

Till now I have never shot a scene without taking account of what stands behind the actors because the relationship between people and their surroundings is of prime importance.

Painting allows me to use other portions of my brain pleasurably. Irony plays no part in what or how I paint. I paint the particular subject matter not to make polemical points but because I am interested in the human imprint on the landscape. I paint the landscape of my time and place with the stuff in it.

As an artist, you take things from your environment, and there's going to be a style coming out of your environment.

Does a poet create, originate, initiate the thing called a poem, or is his behavior merely the product of his genetic and environmental histories?

I've always had an artistic hand. I took on paint when I started falling in love with the abstract expressionists. I approached it from a physical standpoint, but I've also been honing my compositional eye through film.

How do you capture the drama of a Rembrandt painting in a movie? How do you feel that moment that they captured in two hours? I kind of fell into it and at one point, I decided I wanted to live an art life; I wanted to tell stories. I came to New York, and did what most people do - you become a PA and run and get coffee and pay your dues and learn until your opportunity comes.

I write the book for one person — for Fiona [Staples, the artist]. I spend a lot of time just thinking how she'll react to things and manipulating her into drawing perverse, horrific things. It's a really weird job but I enjoy it.

It is a curious fact that with 'Through the Looking-Glass' the faculty of making book illustrations departed from me... I have done nothing in that direction since.

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.

Like, the smells and the sights and the sounds. As an artist, you want to sort of be able to engage that and get that down in some way. This is - this is a type of familiarity but a type of radical difference at the same time.

My work is never intellectual. I never make a negative unless emotionally moved by my subject.

A distinction is made between artists who work directly from nature and those who work purely from imagination. Neither if these methods should be preferred to the exclusion of the other. Often both are used in turn by the same man.

I have to photograph where I am.

When the magic hour arrives, my thoughts center on light rather than on the landscape. I search for perfect light, then hunt for something earthbound to match with it.

I write separately from the inking up. I'm sure this varies from cartoonist to cartoonist; I find that the writing is the hard part and the drawing is the fun part.

The next time you pick up a camera think of it not as an inflexible and automated robot, but as a flexible instrument which you must understand to properly use. An electronic and optical miracle creates nothing on its own! Whatever beauty and excitement it can represent exist in your mind and spirit to begin with.

Painting is like breathing to me. It’s what I do all the time. Every day I make art, whether it is painting, writing or making a movie.

When I look at nature I feel as if I'll be able to paint it all, note it all down, and then you might as well forget it once you're working.

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."

A garden is a result of an arrangement of natural materials according to aesthetic laws; interwoven throughout are the artist's outlook on life, his past experiences, his affections, his attempts, his mistakes and his successes.

If I come across an issue, or something I feel strongly about, and I happen to think of a song that would go in that direction, then I do it. But that's not what I start out, necessarily, to do. Sometimes I may have an idea for a song - "Well, I'm going to write about a thing.

When I studied with Nicholas Ray he was always telling us, "If you want to make films, watch a lot of films, but don't just watch films, go take a walk, look at the sky, read a book about meteorology, look at the design of people's shoes. Because all of them are part of filmmaking." So I thought, perfect! That's a good job for me.

You have to collaborate with the moment and the environment. It kind of was magnified by the house being a studio.