Billy Zane Quotes

The thing is, as a film director, you're essentially alone: You have to tell a story primarily through pictures, and only you know the film you see in your head.

If you want to paint the inner life, you paint it from the exterior. From the exterior, you breathe the inner life into your painting.

There are some scenes that work beautifully in a moving, sweeping master, which is how I like to work.

The painter constructs, the photographer discloses.

A drawing is an autobiographical record of one's discovery of an event - either seen, remembered or imagined. A 'finished' work is an attempt to construct an event in itself.

My work, in a certain way, got started in 1996 when I did an exhibition of thirteen paintings that were solely based on fashion imagery.

Well, I have a very simple method of painting.

The great film editor is not a cutter, he's a storyteller, right?

It doesn't make much difference how the paint is put on as long as something has been said. Technique is just a means of arriving at a statement.

When a scene is being shot, it is very difficult to know what one wants it to say, and even if one does know, there is always a difference between what one has in mind and the result on film.

A painting of a person can be descriptive, but for me it's about all the things that make up a picture - the feelings, the brushstrokes - more than describing somebody. People latch on to the personalities when they talk about my work and forget the other parts.

Every picture has its own demands, and every picture stimulates something within you to tell it a certain way. I don't know what that is; I don't think too much about that.

So to me it's very similar in terms of trying to distill within the image, those elements that are gonna form, hopefully, a compelling visual statement.

When I draw a character, very often as I'm doing a face, my face mirrors the expression.

I'd like to write the way Matisse paints.

So much of what we do as artists is a combination of personal experience and imagination, and how that all creeps into your work is not so linear.

Manipulating shadows and tonality is like writing music or a poem.

I have never subscribed to the Dirty Pallet school of painting.

Illustrating is more about communicating specific ideas to a reader. Painting is more like pure science, more about the act of painting.

There's a lot of research and time that goes into my shoots. I spend weeks on them, even for one picture.

I think a truly fantastic video is worth it. We spend so much time on the music, it only makes sense to have a really well-done visual translation of that music.

Visually, I'm always considering shots and composition quite a lot, and I love putting art into films, and I do a lot of the art.

I feel like the job in editing is to let the movie tell you what it is. So again, it's like sculpture. You just start taking away, you add a nose here, you cut off, like, the side of the cheek over here in the crease, and you have a face. But it really reveals to you what it means to be over time, and if you have enough time.

I remember walking into the editing room when I was a junior in college, and I watched the guy make cuts, and I didn't know what the hell was going on. He was just putting these shots together and telling the story, and it was amazing.

I want to make work that reflects different times and processes.