Alexander Alekhine Quotes

Oh! this opponent, this collaborator against his will, whose notion of Beauty always differs from yours and whose means (strength, imagination, technique) are often too limited to help you effectively! What torment, to have your thinking and your phantasy tied down by another person!

Mother liked beauty wherever she found it, and she found it in many different places, both in nature and in contemporary art. And that's where they pretty much parted company. Father... anything that was abstract would to him automatically be not very good.

There comes a point with any collaboration like that where you start having other interests creatively. I was moving in one direction musically, and as a guitar player, Mark wanted to move in another direction. That was essentially the reason we broke up.

Also, differences of opinion can be creatively stimulating as well as frustrating.

The will is there; the money is not there.

The kind of films I want to make are struggling to get made. And if they are getting made, they're getting made on shoestring budgets with not enough time.

Theo van Doesburg wanted to teach in the Bauhaus in 1922. I refused, however, to appoint him since I considered him to be too aggressive and too rigidly theoretical: he would have wrought havoc in the Bauhaus through his fanatic attitude, which ran counter to my own broader approach.

You can't have your kayak and heat it.

The beauty and riddle in studying the motives of any politician is in trying to decide what is idealism and what is self-interest, and often we are left to conclude that the answer is a mixture of the two.

My intention was to create something that people loved to look at and they could find inspiration from, and that was it.

I think, in general, independents don't have a lot of access to really good scriptwriters or actors or actresses, so they're very limited in what they can do.

I am a living contradiction.

I always like to write myself into a corner. I think the best stuff comes from only having a few ways out.

I'm interested in form, in the shape of things. And in commitment to the degree of never letting go the quest for the meaning of things. That can come off as beauty and style, but that's not where I start from.

In the past, when you were just starting out, you had a day and a half of studio time - maybe two, if your buddy's uncle lets you stay.

Sometimes, I've had the experience with a director where I didn't share the same vision of the movie.

I did the first 'Oxygene' on an 8 tracks tape recorder with very few instruments, with no other choice than being minimalist.

Nothing could be more restrictive than working with people in advertising.

If you're making a film, you've got to have one eye to the audience and one eye to what excites you about it, and sometimes it's not the same thing.

I made three films in Greece, and they're made under very specific, very limited conditions.

When I started doing makeup, I had no intention of doing drag.

I have a problem with writer/directors, personal. I can't work well with both of them on the set, if both of them are giving instructions. Writers tend to be in love with what they wrote. You can't always translate the words into the meaning, sometimes the meaning is better served without the words, difficult to make a writer to try to understand that. It gets, sometimes, tense.

Time, whose millioned accidents creep in betwixt vows, and change decrees of kings, tan sacred beauty, blunt the sharpest intents, divert strong minds to the course of altering things.

Nature expresses a design of love and truth.

He is praised by some, blamed by others.