In a way, perhaps, there's an advantage of being on the edge of something and looking in as the observer, because as the filmmaker, you're the storyteller, and you're pulling out this universal story.
Whenever I have time and am compelled to watch anything, it's usually something I'm not in!
I often told the fanatics of realism that there is no such thing as realism in art: it only exists in the mind of the observer. Art is a symbol, a thing conjuring up reality in our mental image. That is why I don't see any contradiction between abstract and figurative art either.
It is the spectator, and not life, that art really mirrors.
Sex in a dance is in the eyes of the beholder.
I just want the pleasure of noticing these things at a safe distance.
The value of art is in the observer.
Tragedy is in the eye of the observer, and not in the heart of the sufferer.
The observer must learn to look at the picture as a graphic representation of a mood and not as a representation of objects.
I am an artisan. I only became an artist when people watch what I do. That is when it becomes art.
I think people who make objects like the distance; they're not there when the other person is taking it in.
I like playing the guy on the sidelines. They have more fun.
If I didn't have a front-row seat on history, it was at least a seat on the aisle.
I never see things I make in the same way that the audience does. You can never do that.
