A Quote by Henri Matisse
The wall around the window does not create two worlds.
Related Quotes
I'm calling upon president-elect [Donald] Trump to not just settle for a wall.Let's build a fence, then a wall, then a fence, so we create two no man's lands, one on either side of the wall. That way when we pick people up there they don't really have an excuse.
The higher worlds are around us. These worlds are not only heavenly worlds, not only worlds of happiness, though paradise and happiness are in them, but they are also worlds that could be terrible for the people, by dangerous facts and creatures.
I think I work in two worlds. I'll always try to kick through a wall. I did that when I was younger and I still have my way of doing that.
Window-breaking does not necessarily occur on a large scale because some areas are inhabited by determined window-breakers whereas others are populated by window-lovers; rather, one unrepaired broken window is a signal that no one cares, and so breaking more windows costs nothing.
Knowledge! What does that mean? Your knowledge is nothing but cowardice. No, really, that's all it is. You just want to put a little wall around infinity. And you're afraid to look on the other side of that wall.
Science fiction is about worlds you don't know and worlds you can create, like in 'Avatar'.
The role of television is the illusion of company, noise. I call it the fifth wall and the second window: the window of illusion.
Is there a brick wall getting in your way? Fine. That happens. But you have a choice. You can walk away from the wall. You can go over the wall. You can go under the wall. You can go around the wall. You can also obliterate the wall. In other words, don't let anything get in your way. Get a balance, and then let the positive outdistance the negative.
I tell my staff, we're riding a tour bus around, and we're going to stop and look at some weird stuff - but we're taking our viewers around safely. They're just looking out the window at it. I'm trying to create a sense of comfort for my center audience.
I've always written towards movies that take place across two worlds. Most of the movies that I've worked on take place in two worlds, or sometimes three worlds, where you have a normal world and a fantasy world that mix and overlap. I never shy away from the series stuff in the real world. Big Fish is about mortality.
There should be no telephone in your writing room, certainly no TV or videogames for you to fool around with. If there’s a window, draw the curtains or pull down the shades unless it looks out at a blank wall.
There are only two worlds - your world, which is the real world, and other worlds, the fantasy. Worlds like this are worlds of the human imagination: their reality, or lack of reality, is not important. What is important is that they are there. these worlds provide an alternative. Provide an escape. Provide a threat. Provide a dream, and power; provide refuge, and pain. They give your world meaning. They do not exist; and thus they are all that matters.
We may seem the weakest and most insignificant of all the Realms, but our strength comes in other ways. We have what no other race has: imagination. Any one of us, even the lowliest, can create worlds within ourselves; we can people them with the most extraordinary creatures, the most amazing inventions, the most incredible things. We can live in those worlds ourselves, if we choose; and in our own worlds, we can be as we want to be. Imagination is as close as we will ever be to godhead, Poison, for in imagination, we can create wonders.
I think architecture could be understood as the construction of realities, or the construction of worlds. One of the reasons why architects are often attracted to philosophers, partially, has to do with making sense of the world around us as well as the making of worlds, and in our case, the realities we create can be as real as concrete. These kinds of ideas, of wild imagination, go into the question of how you make a world.
I always liked paintings to be walls rather than windows. When we see a painting on a wall, it's a window, so I often put my paintings in the middle of the space to make a wall.
I think I missed my window." "What window?" "My get-a-life window. I think I was supposed to figure all this stuff out somewhere between twenty-two and twenty-six, and now it's too late.
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