Claes Oldenburg Quotes

I like to let the actors work the way they want to.

At this point, because we have stayed the same course for so many years, I feel like we are freer to make choices that are motivated by what feels right creatively at a given point in time.

Defining OO as based on the use of class hierarchies and virtual functions is also practical in that it provides some guidance as to where OO is likely to be successful.

With 'The Crazies,' we had a lot of room to play and manipulate and change things. When you get something bigger, you have less control in that sense unless you're one of the three stars.

So much of art-making is about reducing things to the essentials, so I don't feel particularly crippled by this. I don't want it to look natural because then I would be making a documentary film.

Object-oriented programming is an exceptionally bad idea which could only have originated in California.

'Senna' took five years, 'Amy' took three years. You try and say, 'Look, there's no deadline.' That's important. Just saying, 'We've got to make the film. And once the film's ready, it will be out there.'

Nevertheless, I consider OOP as an aspect of programming in the large; that is, as an aspect that logically follows programming in the small and requires sound knowledge of procedural programming.

One of the privileges you have of living the life of an artist and creating your own world and everything is the fact that, in-between times, you can kind of spend them however you want. Because, you know, once you open up your candy store again, you're open for business. And you have to be responsible. You have to be available.

The main thing that's important to me is getting to do whatever project it is the way that I do what I do, and that's different. To go to an entity - whether it's a traditional film studio or some newer company, or HBO, Amazon or Netflix - they would have to know that I need to work the way I work.

I don't like to try to put, like, 'Let's do this type of record,' 'cause it never turns out that way anyways.

The key is you don't want to control the controlled stuff too much and you don't want to be too free flowing in uncontrolled situations. That can be a contentious issue with some directors. The joy of my career is I've gotten to work with great directors who get that balance.

When you make drama you are like Picasso. Drama is whatever you want it to be.

The trick is to compose what one wants to compose and to get it commissioned afterward.

I get everything that satisfies my soul from bringing together objects that are in the world, manipulating them, working with spatial arrangements, and having things presented in the way I want to see them.

You're the artist - you make the music that you want to make.

It's not necessarily that satisfying getting monetary success, but sometimes it keeps the door open to make what you want to make.

Object-oriented programming as it emerged in Simula 67 allows software structure to be based on real-world structures, and gives programmers a powerful way to simplify the design and construction of complex programs.

I will not allow anyone to take anything off my palette but if I do then within that, I can be creative.

I want to do different projects and be versatile. I don't want to get fixed into narrative comedy.

I'm not precious about anything. The effort it took to get something means nothing to me in post. It means nothing to the audience. I'll chop limbs off. I'll put an arm where a leg should be. I'll do anything.

You have to look at the body of work you're doing and then figure out the best way for people to digest it. You want people to come in and listen to all of it and understand the entire project. I think it's bad when everyone's like, "This is how you have to do it."

Writers do the self-censoring before they even get to the studio executive, because they know the film will not run that gauntlet. They, because they want to get their films made, they censor it.

Ultimately I want to be able to create whatever I want whenever I want. And if that doesn't work, I don't mind just doing weird plays.

If I could direct it [films] I would be very happy. But the economics of business don't always allow you to do what you want.