A Quote by Billy Magnussen
When I act, I feel like I am a color in someone else's painting - I can be the best blue that there is, but I'm still only part of their entire picture - but, with music, when I am performing with Reserved For Rondee, I am the painter, you know?
Related Quotes
Every day I am someone else. I am myself-I know I am myself-but I am also someone else. It has always been like this.
I am pessimistic about a picture's power to be the emissary of just one thing. What I hope is that the picture says, "Here I am, this is what I am like," and the person seeing the picture says in return, 'You know a lot but you don't know half of what I know.'
You can't take yourself too seriously. Like, yeah, I'm doin' all that, but still I don't feel like I've done anything, really. I feel blessed 'cause I'm doin' all these things, but I'm not satisfied. I still have that feeling like, "Who am I? Who am I to have an ego? Who am I to change up and act like some Hollywood character?" Technically, in the grand scheme of things, I haven't done anything.
Music, for the moment, has been this hidden thing for me. For the first time, I am master of something. I am not used by someone else, like in movies or pictures, where you always have the happiness or disappointment of knowing it's you seen through someone else's point of view. You go to see a film and half of the pretty scenes are not in it-the ones you liked. Living with this frustration all the time, suddenly music came as the best thing for me at home, where no one can tell you anything.
I am not a follower of Monet. I am not an admirer or follower of De Kooning. I am not an action painter. I am not an abstract expressionist. I am not younger or older. I will not take my hat off to any other artist living or dead in all the world. I know this.
I have to do the work of self-love and affirmation, and say, "I am a woman, I am a person of color, I am the granddaughter of immigrants, I am also the descendant of slaves, I am a mother, I am an entrepreneur, I am an artist, and I'm joyful." And maybe in seeing my joy, you can finish your sentence with, "And I am joyful too."
I am never in a hurry to reach details. First and above all I am interested in the large masses and the general character of a picture; when these are well established, then I try for subtleties of form and color. I rework the painting constantly and freely, and without any systematic method.
The pressure is always very high. I am the client, and when I am the client, I need to fight with the photographer or with the stylists or with all the people that are on the set, because I am the only one who has a very specific vision. I always have the pressure, either from myself or from the company. I am a control freak. It's part of my culture. I know that I am still working to build a Frida moment at Gucci.
[When] I am taking a photograph, I am conscious that I am constructing images rather than taking snapshots. Since I do not take rapid photographs it is in this respect like a painting which takes a long time where you are very aware of what you are doing in the process. Exposure is only the final act of making the image as a photograph.
I am only satisfied insofar as I feel 'Broadway Boogie Woogie' is a definite progress, but even about this picture I am not quite satisfied. There is still too much of the old in it.
Music means communication to me. I say 'listen you people out there, listen to my music, let's be one.' Music is a friend to me when I am lonely, when I am blue. You can't define music 'cause music is cosmos and it knows no barrier or definition. You have to feel music to dig it.
I know that I am a lucky guy. I know that after an accident like the one I had, you know, only one guy out of a thousand can really go back home and still live. And I am that one. So I am totally aware of that.
I know how quickly things can change in football, and I am only where I am because someone else lost their place.
Still I should paint my own places best; painting is with me but another word for feeling, and I associate "my careless boyhood" with all that lies on the banks of the Stour; those scenes made me a painter, and I am grateful; that is, I had often thought of pictures of them before ever I touched a pencil, and your picture ['The White Horse'] is one of the strongest instance I can recollect of it.
My casting in 'Halo' produced by Steven Spielberg, which I am doing, is just color-blind casting; Asians have been questioning why best roles should not come to them and I am so happy about this color-blind casting. I am going to be just what I am in that film.
Often when I write I am trying to make words do the work of line and color. I have the painter's sensitivity to light. Much of my writing is verbal painting.
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