A Quote by Camille Pissarro
Paint the essential character of things.
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It's not what you paint. It's how you paint it. You don't have to paint elaborate things. Paint simple things as beautifully as you can.
I paint what cannot be photographed, something from the imagination... I photograph the things I don't want to paint, things that are already in existence.
But, as an actress, you don't want to run into these scenes, willy-nilly. The couple that I did do were important for the character and essential to the plot, to show what was actually going on between each character. It is great to be able to have that, and to be able to say certain things and have certain passions.
Painters paint outdoors, or in rooms full of people; they paint their lovers, alone, naked; they paint and eat; they paint and listen to the radio. It is a soothing way of doing your job.
I said, I don't want to paint things like Picasso's women and Matisse's odalisques lying on couches with pillows. I don't want to paint people. I want to paint something I have never seen before. I don't want to make what I'm looking at. I want the fragments.
I don't paint things. I only paint the difference between things.
There are so many good ones to paint and if you paint as well as you really can and keep out of all other things and do that, it is the true thing.
I would say - and paint doesn't peel unless it's acrylic paint, so maybe it is acrylic paint that they're using, not oil paint. So let me say yes, it would be acrylic house paint, which, when it dries, peels very nicely. So let's go with that.
Particularly, the actors, to have analyzed the script in great detail from the point of view of their specific character. So that they have a handle on exactly where the character is in the chronology of things. In that sense the actors become your best check on the logic of the piece, and the way in which it all fits together. They become essential collaborators. The main thing is you have to work with very smart actors.
The propensity to intellectualize is itself both essential and dangerous. I think in our modern world we are much more aware of its essential character than of its dangers, and that is why I think of it as being an expression of transcendence.
To me, the psychology behind the character is critical. So I work very hard to get into the mind of the man that I'm going to be playing, because number one, I want to understand why he's doing what he's doing. It's essential, it's absolutely essential.
Perhaps one of the most essential exercises in learning to paint is the copying of master works in the museums.
My work is not about paint. It's about paint at the service of something else. It is not about gooey, chest-beating, macho '50s abstraction that allows paint to sit up on the surface as subject matter about paint.
What you wear can be such an indicator of so many things. You know, how you feel, how you want others to perceive you. So, that is an absolutely essential part of building a character.
There were episodes where I would wear seven or eight outfits. It took a lot of time to get those together. What the character wears is very essential to how I create the character.
A piece of drapery is like a necktie, hot stuff to paint, and one of the easiest things for a painter to kid himself into thinking he can do. Don't be fooled by the color. Go after the shape and character. Hew the forms together with colored tones.
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