Mark Ryan Quotes

I have a very vivid imagination.

It's good to have fantasies and creative fantasies, especially.

That's what I find so special: when you actually imagine something. But really, when it comes to you in a dream, and then you can bring it to life on the screen, it's very powerful.

I just see potential in things that aren't there and how it's going to make you feel. Like, if it makes me feel a certain way, I try and create the vibe of how that felt to me. And try and create it for someone else.

An artist sees that which does not yet exist. He or she imagines a future others cannot perceive. The artist - and the writer - reshapes reality so that it becomes even more vivid and lasting.

Sunlight and seeing something that was a thought become a thing and materialize - that makes me come alive.

The core of creation is to summon an image and the power to work with the image.

Usually I'm able to imagine something and it comes out as I imagined, more or less.

See all these buildings, Russell? All these buildings were once a drawing on a piece of paper, and before that they were an idea in someone’s head. Any idea that you have, you can make manifest.

I'm always in awe of people who are artists in their fields - people who understand that simply by taking ideas and translating them into reality, they've created value in the world.

Indeed, an engineer designing a structure is not unlike an artist painting one. Both start with nothing but talent, experience, and inspiration. The fresh piece of paper on the drawing board is as blank as the newly stretched piece of canvas.

Insight is the first condition of Art.

I want to do nothing chic, I want to have ideas before beginning a piece.

Being on a trapeze is like dreaming. I feel totally outside of myself when I'm flying. You know, designing shoes, my imagination is flying in my drawings.

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.

Sometimes I can see the whole painting from the outset in my mind's eye. But more often than not, that idea doesn't last the duration of the painting. Sometimes it comes out easy, just as I had envisaged. But that is reasonably rare.

I'm useless at staring at a piece of white paper. But if you put a piece of white paper with a black line on it in front of me, I'll say no that black line should be red and it should go this way or that way.

When a designer creates, he looks at the world around him.

There was always a creative impulse in me but I never felt rooted to anything.

There is only one admirable form of the imagination: the imagination that is so intense that it creates a new reality, that it makes things happen.

Every time I get a script it's a matter of trying to know what I could do with it. I see colors, imagery. It has to have a smell. It's like falling in love. You can't give a reason why.

Sometimes I see it and then paint it. Other times I paint it and then see it. Both are impure situations, and I prefer neither.

With directing, you've got to find something and drag it up from its inception, and I'm at the early stages of doing that again. There's something all-consuming and addictive about that.

A chair, it's like a sculpture. It starts as a thought and then becomes an idea, something I might think about for years. When the time is right, I express it on paper, usually as a simple line in space. Finally, it takes shape.

Art revolves around creating something that isn't there.