Rick Tumlinson Quotes

'Interstellar' is a thematic sequel to Christopher Nolan's last original film, 'Inception'. It drops us into a dark future full of otherworldly landscapes and time distortions.

I had the good fortune to be able to take a course with Margaret Mead. I had a fabulous art course, where it was explained to me that nothing exists in a vacuum, that everything is a result of the period in which it's done - the economics, the sociology, the politics, all sewn together. That was a very important lesson.

You can learn as much about the history from reading about the present as you can vice versa, that is learning about the present through history, which is what I do for a living.

A feeling for history is almost an essential for writing and appreciating good science fiction, for sensing the connections between the past and future that run through our present.

For decades engineers have stood accused that their buildings do not have any cultural value. We have attempted to liberate engineering of this accusation.

The power of the story sheds a light and great perspective on well known facts. The power of cinema draws on that collective history.

It is not architectural achievement that makes the structures of earlier times seem to us so full of significance but the circumstance that antique temples, Roman basilicas, and even the cathedrals of the Middle Ages are not the works of single personalities but creations of entire epochs.

The arts don't exist in isolation.

Observe that it is a great error to believe that all mediums of art are not closely tied to their time.

I'm always interested in looking - historically - at how theater can animate history and how all of that can make us engage with our lives in an enriching way.

If you look at art history, at Goya or Gainsborough, it's always about acknowledging the people of your time who have influence.

The effect of studying masterpieces is to make me admire and do otherwise.

I think Picasso was someone who took art's powers of consuming, its powers of much-ness and multiplicity, and used that to his fullest extent. That's something that was permitted to men, obviously, much more than women, but was also permitted in the past much more often than now.

I've always been attracted to classic patterns in architecture, music and drama.

History must not be treated as something set off by itself.

Summoning artists to participate In the august occasions of the state Seems something artists ought to celebrate A golden age of poetry and power Of which this noonday's the beginning hour.

History is complex.

To understand a field, you look at its arts. Arts can be cautionary as well as inspiring.

Historically, in the world of architecture, enormous amounts of care and energy have been lavished on things that are almost a cliched idea of culture.

As artists, our primary function is not to be educators - but we are at a time in history, where for us, our history needs to give context for stories that we hope to tell down the road.

Once people write criticism about something - and even in 1967 I was far from alone - they're assuming it's art, and art is supposed to last.

Music dictates culture, and culture dictates music; they go hand in hand.

If we talk about art in general... all the works of art, each one of them could reflect a moment in the history of mankind, the time in which it was created.

My artistic decision to cast my mother's objects into bronze moves beyond the notions of memorializing her. I've been fascinated for some time with the idea of monumentality and what it means to memorialize. Both of these notions are relevant historically, artistically, and culturally.

The stories in our music form a special viewpoint on the story of America in the 20th Century.