A Quote by Chuck Close

I knew from the age of five what I wanted to do. The one thing I could do was draw. I couldn't draw that much better than some of the other kids, but I cared more and I wanted it badly.
You know what I am going to say. I love you. What other men may mean when they use that expression, I cannot tell. What I mean is that I am under the influence of some tremendous attraction which I have resisted in vain, and which overmasters me. You could draw me to fire, you could draw me to water, you could draw me to the gallows, you could draw me to any death, you could draw me to anything I have most avoided, you could draw me to any exposure and disgrace. This and the confusion of my thoughts, so that I am fit for nothing, is what I mean by your being the ruin of me.
I started acting when I was really young. I knew I wanted to be in the industry in other ways. I knew that I wanted to do more than just act. I don't know that I knew it was screenwriting, but I just knew that I wanted to be involved.
I wanted so badly to be straight like my friends. But I couldn't change it any more than I could change having brown eyes. And I knew I would never fit into what kids thought was normal.
When I was a kid, I could draw, and my ambition was to be a cartoonist. I wanted to draw comics. But I also liked newspaper comics.
My art teacher was really encouraging me, because he really liked that I could draw. I felt very torn. At that time, I had to pick one, and I felt much more confident in the arts than I did in chemistry. My big thing was that I actually wanted to be like Jacques Cousteau.
I was a child prodigy. Like Michelangelo, who could draw a perfect circle at age five. I was extremely gifted. I could paint a perfect portrait of someone at age five.
I knew I wasn't that good a writer, and all I could remember was that I could draw. I'm better at drawing than I am at writing.
What, or who, led you to take up photography, and about what date ? George Bernard Shaw – I always wanted to draw and paint. I had no literary ambition. I aspired to be a Michelangelo, not a Shakespeare. But I could not draw well enough to satisfy myself; and the instruction I could get was worse than useless. So when dry plates and push buttons came into the market I bought a box camera and began pushing the button. It was in 1898.
I draw all the time. Drawing is my backbone. I don't think a painter has to be able to draw, I just think that if you draw, you better draw well.
When I draw the scene that I'd been dreaming about or had always wanted to draw, that is the time that I'm happiest.
I wanted very much to learn to draw, for a reason that I kept to myself: I wanted to convey an emotion I have about the beauty of the world.
It's always an amazing gift to be able to work with storytellers who 'get it' and who can not only draw anything but can draw it better and more dynamically than you'd ever envisioned.
I was in a school called Shiv Niketan, run by Elizabeth Gauba, where she gave a lot of importance to people expressing themselves in whatever way they wanted - some could draw and answer, some could dance and answer, while some could act.
I always find the more you can draw on real life characters, people, situations, it works better. Certainly for designing a character, I prefer to draw on real people rather than other guys I've seen in movies, rather than 'here's my version of Clint Eastwood' or whoever.
When I was a kid - and I don't know why, it's the most random thing - I wanted to be a speech therapist for little kids. I knew I wanted to do something with kids.
My dad wanted me to have a better life than he had ever had. He wanted us to succeed so badly. And I never wanted to let him down.
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