Steven Soderbergh Quotes

But, I would always be thinking of how pictures are constructed and colour, how to use it, I mean you're using it for constructing, makes you think about it, the place did as well.

I'm thinking about color all the time. Sometimes even as far back as the plotting sequence.

The job of the color photographer is to provide some level of abstraction that can take the image out of the daily.

A photographer must choose a palette as painters choose theirs.

Art requires choices, the more specific, the better.

On an instrument you start from one tone. In painting you start from several.

Already in 1915, Sophie Tauber divides the surface of her aquarelle into squares and rectangles which she then juxtaposes horizontally and perpendicularly as Mondrian, Itten and Paul Klee did in the same period, fh). She constructs them as if they were masonry work. The colors are luminous, ranging from the raw yellow to deep red or blue.

I don't make a lot of distinctions between things like landscape or figure painting, because to me the problems are inherently the same - lighting, color, structure, and so on - certainly traditional and ordinary problems.

I would like the colors, their shapes and positions to be arrived at in response to and dictated by the condition of the total space at the time they are considered.

Painting is something that takes place among the colors.

I do a lot of research, I try to think about how it relates to music and I just do a ton of drawing. It's much easier to work your ideas out that way.

There have been innumerable films about film-making, but Otto e Mezzo was a film about the processes of thinking about making a film -- certainly the most enjoyable part of any cinema creation.

Being in the studio, it's more of a controlled environment, where you can be Salvador Dali and sit back and look at the painting. And you can go, 'Ah, you know what? Maybe a little bit more red over here...maybe add some blue over here.' You can sit back and look at the painting.

Color cannot stand alone.

It is essential for the photographer to know the effect of his lenses. The lens is his eye, and it makes or ruins his pictures. A feeling for composition is a great asset. I think it is very much a matter of instinct. It can perhaps be developed, but I doubt if it can be learned. To achieve his best work, the young photographer must discover what really excites him visually. He must discover his own world.

The first colour charts were unsystematic. They were based directly on commercial colour samples. They were still related to Pop Art. In the canvases that followed, the colours were chosen arbitrarily and drawn by chance. Then, 180 tones were mixed according to a given system and drawn by chance to make four variations of 180 tones. But after that the number 180 seemed too arbitrary to me, so I developed a system based on a number of rigorously defined tones and proportions.

At the same time that I'm finding the color world I want, I'm also trying to make the imagery, you know, by the nature of the strokes themselves.

Color was the palette of commercial photography and snapshot photography.

Color is like cooking. The cook puts in more or less salt, that's the difference!

Painting is another form of thinking.

They were wrestling with canvases, using violent colors and huge brush strokes. I arrived with gray, silent, sober, oppressed paintings. One critic said they were paintings that thought.

My best beauty secret is simple: Have the right palette and the right colors and remember, you need so much less makeup than you think.

Only the series of colors on the canvas with all their power and vibrancy could, in combination with each other, render the chromatic feeling of that landscape.

Painting is drawing, with the additional means of color. Painting without drawing is just 'coloriness,' color excitement. To think of color for color's sake is like thinking of sound for sound's sake. Color is like music. The palette is an instrument that can be orchestrated to build form.

I don't think he (Joseph Albers, fh) ever realized that it was his discipline that I came for. Besides, my response to what I learned from him was just the opposite of what he intended.. ..I was very hesitant about arbitrarily designing forms and selecting colors that would achieve some predetermined result, because I didn't have any ideas to support that sort of thing - I didn't want color to serve me, in other words.