A Quote by Bridget Riley
I learned from Seurat this important thing about colour and light, that 'a light' can be built from colour. I learned a great deal about interaction, that 'a blue' in different parts will play all sorts of different roles.
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I had an idea for a story about a young woman who was living with people who were different, not just superficially different - such as hair colour, or eye colour, or skin colour - but different in some significant way.
The prejudice many photographers have against colour photography comes from not thinking of colour as form. You can say things with colour that can't be said in black and white... Those who say that colour will eventually replace black and white are talking nonsense. The two do not compete with each other. They are different means to different ends.
In America, I am brown; I'm 'of colour', so I would be offered Latin roles, and I've fought against that. I don't want to be put in a category, to be just offered the same sort of thing. For me, it's all about different roles, telling the stories of the great writers.
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.
The colour blue - that is my colour - and the colour blue means you have left the drabness of day-to-day reality to be transported into - not a world of fantasy, it’s not a world of fantasy - but a world of freedom where you can say what you like and what you don’t like. This has been expressed forever by the colour blue, which is really sky blue.
I have gained very great inspiration from the Cornish land- and seascape, the horizontal line of the sea and the quality of light and colour which reminds me of the Mediterranean light and colour which so excites one's sense of form; and first and last there is the human figure which in the country becomes a free and moving part of a greater whole. This relationship between figure and landscape is vitally important to me. I cannot feel it in a city.
At the end of the day, I'm human. I'm English - I was born here. Of course I'm a different colour from you, but I'm still human. The main thing is, I'm human - like everyone else. Because I'm a different colour doesn't mean there is a difference.
If your inner being changes, your whole outer life will be totally different. It will have a different fragrance, a different beauty, a different grace. And when your inner being is changed and becomes a flame of light, you will become a light unto others too. You will become a beckoning light, a great herald of a new dawn. Your very presence will trigger revolutions in other people's lives.
Stained glass is unique from the outside, but as a painting insider, I know that oil painting's all about light. And it's about the depiction of light, the way that it bounces off different types of skin, different landscapes. The mastery of that light is the obsession of most of my painter friends.
How many people have different opinions in this world? Every different person has a different opinion of what that bottle really is or what colour it is. If I say that bottle is clear, there will be someone out there telling me that bottle is green or blue.
Trust your feelings entirely about colour, and then, even if you arrive at no infallible colour theory, you will at least have the credit of having your own colour sense.
In Asia, red is the colour of joy; red is the colour of festivities and of celebration. In Chinese culture, blue is the colour of mourning.
There needs to be more film directors of colour. They bandy about the word 'diversity' a lot, but when I say 'of colour,' I mean Asian, black - I mean people of all colour. We need to have those voices given the opportunity, not told that their films will not be distributed or will not sell well abroad.
In thinking of light, if we can think about what it can do, and what it is, by thinking about itself, not about what we wanted it to do for other things, because again we've used light as people might be used, in the sense that we use it to light paintings. We use it to light so that we can read. We don't really pay much attention to the light itself. And so turning that and letting light and sound speak for itself is that you figure out these different relationships and rules.
The orthodox view of colour experience assumes that, when we see a colour difference between two surfaces viewed side-by-side, this is because we have different responses to each of the two surfaces viewed singly. Since we can detect colour differences between something like ten million different surfaces, this implies that we are capable of ten million colour responses to surfaces viewed singly.
I've learned a lot from doing the sitcom. I've learned so much about comedic timing. For all the movies I've done, I've played so many different roles. I love both, but I guess in my career maybe I want to stick more to film.
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