Roger Rees Quotes

Sometimes I wish the writing and drawing were more integrated.

My goal is to communicate how powerful the breaking down of artistic barriers can be when grounded in thought, intention, and a true understanding of all the forms that are being experimented with.

No art goes unmediated by other art.

I looked at Rembrandt and Superman, Matisse and Bugs Bunny, and began to make my own pictures.

My mother is an artist, and I have a strong visual sense. I almost always choose the cover art for my books. I've learned that the more I collaborate, like by having someone do a soundtrack to one of my books, the more I see my own work differently.

The alchemy of good curating amounts to this: Sometimes, placing one work of art near another makes one plus one equal three. Two artworks arranged alchemically leave each intact, transform both, and create a third thing.

When I make art, I think about its ability to connect with others, to bring them into the process.

Indeed, I would feel that an appreciation of the arts in a conscious, disciplined way might help one to do science better.

I do tend to take lines from other lines I like, and then write around them.

I always thought that one of the reasons why a painter likes especially to have other painters look at his or her work is the shared experience of having pushed paint around.

You boil down your influences to a soup, and it all informs you.

I follow the work of my contemporaries. I love their work.

'Zara Thehro' stemmed from a thought of marrying two separate thoughts - musical and conceptual.

I like to borrow forms and quotes and use a lot of allusions, in both poetry and music.

I learned to not separate writing, shooting, and editing, it's all sort of one big mess of creative output.

One of the things about Derek Jarman was that he was a painter who worked alone when he painted, but I firmly believe that one of the reasons he made films was for the company. He made filmmakers of all of us, that's the truth. I don't mean he necessarily made directors, but he made us filmmakers. Because we lived in a state of mutual responsibility for what we made.

I think working with artists is incredibly important for everybody in the world, but also, it is a way of seeing the world differently.

It might be David Adjaye talking about how the structure of jazz music informs his architecture, it might be the musician Terry Riley talking about how he thinks so much about cinema. I'd love to see more of a rupture between mediums and a flow between them.

Ultimately, it comes down to taste. It comes down to trying to expose yourself to the best things that humans have done and then try to bring those things into what you're doing. Picasso had a saying: good artists copy, great artists steal. And we have always been shameless about stealing great ideas, and I think part of what made the Macintosh great was that the people working on it were musicians and poets and artists and zoologists and historians who also happened to be the best computer scientists in the world.

Works of art imitate and provoke other works of art, the process is the source of art itself.

Ideally I would like the work to be a hybrid between painting and photography.

A work of art is finished, from the point of view of the artist, when feeling and perception have resulted in a spiritual synthesis.

Photography and painting, all of that fed into my directing eventually.

The design process, at its best, integrates the aspirations of art, science, and culture.

Film is very much about sitting around and talking about ideas, and that's the stuff that I love, but I haven't experienced that yet in the television that I've done so far. It makes me long for movies again because, creatively, I always have a much more fulfilling experience there.