A Quote by James Ensor
The mask means to me: freshness of color, sumptuous decoration, wild unexpected gestures, very shrill expressions, exquisite turbulence.
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I suppose the most marked example of color as structure is in the Byzantine use of mosaic decoration that becomes architecture. The decoration of the interiors so related to the form that they fuse. In less elaborate interior design this is always the ideal approach to color - used not only as just color alone.
Poetry is the exquisite expression of exquisite expressions.
Second freshness - that's what is nonsense! There is only one freshness - the first - and it is also the last. And if sturgeon is of the second freshness, that means it is simply rotten.
Sometimes my husband will surprise me with flowers for no reason. Unexpected romantic gestures are very important and keep things exciting.
The Mask "Put off that mask of burning gold With emerald eyes." "O no, my dear, you make so bold To find if hearts be wild and wise, And yet not cold." "I would but find what's there to find, Love or deceit." "It was the mask engaged your mind, And after set your heart to beat, Not what's behind." "But lest you are my enemy, I must enquire." "O no, my dear, let all that be, What matter, so there is but fire In you, in me?"
So I very quickly stopped almost all decoration. I was interested in the three-dimensional form of the pots, but my decoration was nonexistent.
In silent films, quite complex plots are built around action, setting, and the actors gestures and facial expressions, with a very few storyboards to nail down specific plot points.
In silent films, quite complex plots are built around action, setting, and the actors' gestures and facial expressions, with a very few storyboards to nail down specific plot points.
Usually I'm frustrated when I look at my films and I don't believe that I've made a real transformation beyond my usual sets of gestures and expressions. I still have this nagging feeling that it's me, that I didn't create a unique character.
...innocence of eye has a quality of its own. It means to see as a child sees, with freshness and acknowledgment of the wonder; it also means to see as an adult sees who has gone full circle and once again sees as a child - with freshness and an even deeper sense of wonder.
Grant me some wild expressions, Heavens, or I shall burst.
All politicians are going to mask to some degree in order to present themselves in away they think will get them votes. What's different in Obama's case is that he's wearing a racial mask, this 'bargainer's' mask, and I think very effectively, whereby he gives whites the benefit of the doubt. He's essentially saying, 'I am going to presume you are not racist, if you won't hold my race against me.' So, his mask is a distinctly racial one.
My relationship with Pauline is special. She knows I will always be there to hold her hand. We have the same expressions and gestures. I tell her sometimes, 'you are my mini me.'
Don't have conversations taking place in empty space. Weave in background details of where the action (dialogue is a form of "action") is taking place. Don't have invisible people talking, either. Let the reader see them as they speak - their facial expressions and gestures. And by all means "cue" the speeches to the speakers.
I've never actually met one in the wild, but I have seen a king cobra. They go towards people, they rear up six feet tall and they're very aggressive and they are very fast. And one bite means certain death. So if I encountered a king cobra in the wild I would be very alarmed.
I held a blue flower in my hand, probably a wild aster, wondering what its name was, and then thought that human names for natural things are superfluous. Nature herself does not name them. The important thing is to know this flower, look at its color until the blends becomes as real as a keynote of music. Look at the exquisite yellow flowerettes at the center, become very small with them. Be the flower, be the trees, the blowing grasses. Fly with the birds, jump with a squirrel!
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