A Quote by Brian De Palma
I sometimes go for the strongest, most vivid colour on the palette, which in the case of movies is violence.
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Most art students are generous till it comes to squeezing their colour on the palette... Many pictures haven't become works of art simply because the artist tried to save a nickel's worth of colour.
Violence in real life is terrible; violence in movies can be cool. It's just another colour to work with.
Black is always elegant. It is the most complete colour in the whole world, made of all the colours in the palette.
Despite all the troubles of our world, in my heart I have never given up on the love in which I was brought up or on man's hope in love. In life, just as on the artist's palette, there is but one single colour that gives meaning to life and art–the colour of love
With kings, nations, and private individuals, the strongest assume to themselves rights over the weakest, and the same rule is followed by animals, by matter, by the elements, so that everything is performed in the universe by violence. And that order which we blame with some appearance of justice is the most universal, most absolute, most unchangeable, and most ancient law of nature.
In 1984, George Orwell wrote of a world where the only colour to be found was in the propaganda posters. Such is the case in North Korea. Images of Kim Il-sung are depicted in vivid colours. Rays of yellow and orange emanate from his face: he is the sun.
A beautiful feature in the colour wood-cut, and one unique in printing, is colour gradation... Two brushes are sometimes used, one charged with more potent colour than the other. Line blocks are nearly always printed with some variation of tone, and often in colour too.
Sometimes I can see colour without opening my eyes. I saw that Billy's heart was no colour and every colour. Like water or diamonds or crystals, it's pure and reflects the light.
I sometimes go to a movie and eat my popcorn and turn my brain off. I love those movies. But the movies I like to be in, for the most part, are the ones that challenge you.
I'm so sick of seeing guns in movies, and all this violence; and if there was going to be violence in Pines, I wanted it to actually be narrative violence. I wasn't interested in fetishizing violence in any way of making it feel cool or slow-motion violence. I wanted it to be just violence that affected the story.
I have very vivid dreams - almost always action-adventure. I'm often on the run. I've always had dreams. When I was little, I'd go to sleep with my head on my hands, which were in fists like I was looking through a camera. I felt like sleep was the movies - just drifting off to the movies.
The intellectual attainments of a man who thinks for himself resemble a fine painting, where the light and shade are correct, the tone sustained, the colour perfectly harmonised; it is true to life. On the other hand, the intellectual attainments of the mere man of learning are like a large palette, full of all sorts of colours, which at most are systematically arranged, but devoid of harmony, connection and meaning.
Even in the most peaceful communities, an appetite for violence shows up in dreams, fantasies, sports, play, literature, movies and television. And, so long as we don't transform into angels, violence and the threat of violence - as in punishment and deterrence - is needed to rein in our worst instincts.
I dream crazy vivid dreams. Like, entire movies. And sometimes I write songs about them.
Somewhere, things must be beautiful and vivid. Somewhere else, life has to be beautiful and vivid and rich. Not like this muted palette -a pale blue bedroom, washed out sunny sky, dull green yellow brown of the fields. Here, I know ever twist of every road, every blade of grass, every face in this town, and I am suffocating.
The most admirable method is that by which each wash of colour, large or small, is never disturbed. It admits of practically no overpainting, sponging or scrubbing. The colour stays where it is put.
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