Creative Analysis Quotes

I like to think of my work and the way people approach it in the same way people approach a Lichtenstein painting. You can write a one-hundred-page dissertation about why he used comics. Or it could be like, 'This is cute!'

Well we took it apart scene by scene. We examined every sentence, every full stop, every comma. He has a most wonderful eye for detail, Roman, and you know, he's a very good artist.

Interpretation, based on the highly dubious theory that a work of art is composed of items of content, violates art. It makes art into an article for use, for arrangement into a mental scheme of categories.

A good critic is the sorcerer who makes some hidden spring gush forth unexpectedly under our feet.

What I realized halfway through writing romance is that you start out intuitive, and you make all these choices mostly based on yourself and what you like and what talent you have, and... if you want to have any quality control over your product, you have to stop being intuitive and start being more of an analyst.

I used to want to be a critic. I think it's an awesome job. You get to watch all this stuff and then write about it and analyze it and give insight into it. That's an amazing job. I was terrible at it, though.

Our analytical faculties allow us to look critically at our writing and interpret it. Sometimes we make bold, impulsive edits to our poems, but most forms of precision and economy in poetry, it seems to me, are signatures of the analytical mind.

I am basically analytical, not creative; my writing is simply a creative way of handling analysis.

I'm trying to teach people of all ages to, number one: how to criticize, how to offer creative analysis on top of that, how to try to build things in a new direction and how to compliment people when the thing gets done.

The critic is genius at one remove; he is not unlike an actor on the stage, and incarnates in his mind, as the actor embodies in his person, another's work; only thus does he understand art, realize it, know it; and having arrived at this, his task is done.

Even though I loved to write, I never liked English lit. class very much. I think it ruins books when you dissect them too much. I liked my art classes best.

I listen to things that are popular and try to think about it in a mathematical way.

I see the world in rectangles. If I am talking to someone, I find myself analysing their face, working out how to recreate it in bricks.

And so when studying faces, we do indeed measure them, but as painters, not as surveyors.

We speak of the masculine and the feminine, but they are the wrong labels. It is really more a matter of poetry versus intellectualization.

We should be wrong to demand that a critic must stay on the point all the time; it is enough if he remains in orbit around it.

They always find new ways of talking about my movies.

A lot of food criticism has a similar flavor to it, and I'm probably going to write about it in a different way.

A perfect judge will read each word of wit with the same spirit that its author writ.

I just want my films to work. The hit or flop verdict really affects me. I seriously analyse what went wrong if a film turns out to be a dud!

Many attempts have been made by writers on art and poetry to define beauty in the abstract, to express it in the most general terms, to find some universal formula for it.

Just as Socrates felt that it was necessary to create a tension in the mind so that individuals could rise from the bondage of myths and half-truths to the unfettered realm of creative analysis and objective appraisal, so must we see the need for nonviolent gadflies to create the kind of tension in society that will help men rise from the dark depths of prejudice and racism to majestic heights of understanding and brotherhood.

It's not that the creative act and the critical act are simultaneous. It's more like you blurt something out and then analyze it.

I like to deconstruct things, deconstruct genres and stories.

I'm artistically critical of my own work.