A Quote by David Starkey
What I love doing is creating a room, with attractive paintings and colours and furnishings - very much my mother.
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I think there's an aspect of my soul, of my personality, that's very suited to directing. I like being in the room with actors; I love creating a safe space and a chaotic space for the discovery to take place. I love creating a sense of community.
My directors of photography light my films, but the colours of the sets, furnishings, clothes, hairstyles - that's me. Everything that's in front of the camera, I bring you.
You're like a witness. You're the one who goes to the museum and looks at the paintings. I mean the paintings are there and you're in the museum too, near and far away at the same time. I'm a painting. Rocamadour is a painting. Etienne is a painting, this room is a painting. You think that you're in the room but you're not. You're looking at the room, you're not in the room.
I don't believe anything can do as much for a room as a glowing fire in an attractive fireplace. Men and dogs love an open fire - they show good sense. It is the heart of any room and should be kindled on the slightest provocation.
I think I've identified as an artist since I was a baby - literally a baby. I made a book of drawings and paintings in pre-school. By the time I got to high school, I was completely enamored with art, doing paintings and portraits at lunchtime. I've been creating in some capacity forever.
But I hang on to books. I love them. I even think they're very nice decor in a room - far better than paintings... That's not quite true!
I love my father very much. I attribute so much of the person I am today to the values that he and my mother set for us, and the way they encouraged us every day of our lives to go out and find what we love doing and to fulfill our potential and really be happy.
Photographing attractive people who were doing attractive things in attractive places. (Summary of his photographic career)
Until the late 1970s there'd either be only black or white in the paintings or if there were colours it would be a small amount, not a large area, and with the color separated from other colors by black or white (which is formula for Damien Hirst's successful dot paintings, incidentally).
The spot paintings, the spin paintings, they're all a mechanical way to avoid the actual guy in a room, myself, with a blank canvas.
Mother love has been much maligned. An over mothered boy may go through life expecting each new woman to love him the way his mother did. Her love may make any other love seem inadequate. But an unloved boy would be even more likely to idealize love. I don't think it's possible for a mother or father to love a child too much.
I think that people tend to look at the paintings as being resolved or finite. But, to me, a painting can be an index for all of the paintings I've done and all of the paintings I'm going to do. It's like if I'm doing a film of the Olympics, I'm not examining a specific sport; I'm interested in the overall context.
If we can say with Seneca, "This life is only a prelude to eternity," then we need not worry so much over the fittings and furnishings of this ante-room; and more than that, it will give dignity and purpose to the fleeting days to know they are linked with the eternal things as prelude and preparation.
Their elegant shape, showy colours, and slow, sailing mode of flight, make them very attractive objects, and their numbers are so great that they form quite a feature in the physiognomy of the forest, compensating for the scarcity of flowers.
The first exhibition that I used bright colours in painting the room was at a gallery in Paris, and there were seven rooms in the gallery. It was very nice gallery, not very big rooms, around the courtyard, it was a very French space. So I painted each room in different colour. When people came to the exhibition, I saw they came with a smile. Everybody smiles - this is something I never saw in my work before.
The paintings of Francis Bacon to my eye are very beautiful. The paintings of Bosch or Goya are to my eye very beautiful. I've also stood in front of those same paintings with people who've said, 'let's get on to the Botticellis as soon as possible.' I have lingered, of course.
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