Mark Rothko Quotes

Cinema for me only has meaning when it has a relationship with what I see outside on the street.

I really love the independent movies and I just think that sometimes when they throw a lot of money into it and a lot of special effects and a lot of stunts that you lose the connection, the human connection and I personally love movies that are about the human connection.

The second-class couple is far closer to what the audience is today. It's who we are.

No longer shall I paint interiors with men reading and women knitting. I will paint living people who breathe and feel and suffer and love.

When I started to write 'Hannah's Child,' I realized that this had to be a book of passion, to have a certain kind of vulnerability. I think that people respond to that.

I like actors who, when you see them on screen, you sense a person, not just an actor.

I think that's what distinguishes Schmidt, really. In the movies now, so much of what is appealing to an audience is the dramatic or has to do with science fiction, and Schmidt is simply human. There's no melodrama; there's no device, It's just about a human being.

From Romare Bearden I learned that the fullness and richness of everyday life can be rendered without compromise or sentimentality.

TV does a thing that film can never do. It takes you to a place that no novel written after the late 19th century can. You can just go through people's lives; it's like a marriage.

I like films that are about people and real, and honest films that are authentic depictions of real-world problems.

I've been writing poems since I was in the Navy - to Rosalynn. I found I could say things in poems that I never could in prose. Deeper, more personal things. I could write a poem about my mother that I could never tell my mother. Or feelings about being on a submarine that I would have been too embarrassed to share with fellow submariners.

If you do too much acting in a lead part in a feature film where you're 40 ft. high, it's rather unattractive. You can see the acting. And it's actually the right thing to do to bring as much of yourself, I believe, to the part as you possibly can - to minimize the amount of theatrical stuff that you need to do.

I think sometimes people can get lost in the bigger special effects, science fiction, robot stuff, and those are cool and fun to watch, too, but I think it's so important to sometimes step back and watch something that's about life and human interaction.

There's this thing in Hollywood about the sympathetic character and likability. I've never understood that because the people I love most in my life are not likable all the time. My wife is not always likable. I'm certainly not always likable. My dad is not always likable. We're human beings.

I don't think music teaches about mundane, everyday life. It teaches us what it is to be a human being.

'Slice of life' is not a genre I had experimented with much, and it's quite difficult.

The reason for my painting large canvases is that I want to be intimate and human.

The kind of poetry I write, lyric poetry, I think is really concerned with intimacy, with mystery. That needn't be religious mystery, there are mysteries to do with everyday life.

I had a very important personal point to make with this song [I Want Your Sex]. I just hated the idea that lust and forbidden excitement could only come with sleaze and strangers.

Why is it that you can sometimes feel the reality of people more keenly through a letter than face to face?

A 'truth' detached and purified of pleasures of ordinary life is not worth a damn in my view. Every grand theory and noble sentiment ought to be first tested in the kitchen-and then in bed, of course.

It was strange: When you reduced even a fledgling love affair to its essentials--I loved her, she maybe loved me, I was foolish, I suffered--it became vacuous and trite, meaningless to anyone else. In the end, it's only the moments that we have, the kiss on the palm, the joint wonder at the furrowed texture of a fir trunk or at the infinitude of grains of sand in a dune. Only the moments.

The actors are telling the truth on some level, and people have to believe it. At Cannes, a lot of people said, "Oh, shocking," but this Italian girl said to me, "My god, I just said that to my boyfriend the other night." That's what Lula from Wild at hearts talks about. That's life - to turn each other on, to feel good, to feel in love.

In her presence I could dare everything: sincerity, emotion, pathos.

As he read, I fell in love the way you fall asleep: slowly, and then all at once.