A Quote by Martin Scorsese
I always tell the younger filmmakers and students: Do it like the painters used to...Study they old masters. Enrich your palette. Expand the canvas. There's always so much more to learn.
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I'm often asked by younger filmmakers, 'Why do I need to look at old movies?' I've made a number of pictures in the last 20 years and the response I have to give them is that I still consider myself a student. The more pictures I've made in 20 years, the more I realize I really don't know. And I'm always looking for something or someone that I could learn from. I tell the younger filmmakers, and the young students, that do it like painters used to do—that painters do—study the old masters, enrich your palette, expand the canvas. There's always so much more to learn.
Painters can study the masters can't they? Musicians can hear Beethoven. What will filmmakers do?
Just slap anything on when you see a blank canvas staring you in the face like some imbecile. You don't know how paralyzing that is, that stare of a blank canvas is, which says to the painter, ‘You can't do a thing’. The canvas has an idiotic stare and mesmerizes some painters so much that they turn into idiots themselves. Many painters are afraid in front of the blank canvas, but the blank canvas is afraid of the real, passionate painter who dares and who has broken the spell of `you can't' once and for all.
I always tell younger filmmakers, it's not just about the acting or the art itself. It's about how big of an audience watches your film.
If painters could be compared to filmmakers, Bosch is the Hype Williams of renaissance painters. With Bosch, there's always a narrative that is very nonlinear - and that's the essence of a good music video.
It takes time and devotion to learn the language of color and lighting in the garden. Your tastes are sure to change over time, reflecting your inner evolution. Seeing the garden as a canvas for your celebration of Nature's palette is a wonderful expression of the soul's love of beauty and artistry. Your own inner intuition, however, is often your best teacher, but don't forget that Mother Nature will always have a few surprises up Her sleeve as well.
The thing I always tell my writing students - I'm not a full-time instructor, by any means, but periodically I've taught writing students - what I always tell them is that the most important thing in narrative nonfiction is that you not only have to have all the research; you have to have about 100% more than you need.
I want to experience as many different tastes, sights, emotions, conflicts, and cultures as possible, so that I can expand the canvas of my memory and enrich my comedy.
The study of combinations should enrich the analytical spirit of studious amateurs. Thereafter the most gifted among them will be able to catch some sparks of the genius of masters, and in addition some rays of the glory that is the masters.
Whether you create, or you observe an objective piece of creativity, meditation should be the key. Without it, mind can only spread on the canvas its nightmares. Most of the paintings of the great painters like Paul Gaugin or Picasso are almost like vomit. They could not contain their agony and suffering - it was so much they threw it on the canvas to get relief. The real objective art is not a relief; it is not a sickness that you want to get rid of. It is a blissfulness that you want to share. And by sharing, it grows; you have more of it, the more it is shared.
I always get into arguments with people who want to retain the old values in painting - the humanistic values that they always find on the canvas. If you pin them down, they always end up asserting that there is something there besides the paint on the canvas. My painting is based on the fact that only what can be seen there is there... What you see is what you see.
Learn from the masters, learn from your contemporaries. Always try to update yourself.
I recommend that you should work actively... and study the artistic structures of Rubens, Rembrandt, Titian, Watteau, Poussin, and other painters, even Chardin, where he is an artist. Study very closely their dabbing manner of execution and try to copy a small piece of canvas, just one square inch.
The challenge of yoga is to go beyond our limits - within reason. We continually expand the frame of the mind by using the canvas of the body. It is as if you were to stretch a canvas more and create a larger surface for a painting. But we must respect the present form of our body. If you pull too much at once, we will rip the canvas. If the practice of today damages the practice of tomorrow, it is not correct practice.
Representational painters: loosen the grip of inflexibility! Abstract painters: tighten your hold on crafting your images! In both types of painting students need to unlearn what one has acquired.
I've always been interested in visual art and used to be much more into theater when I was younger, or more knowledgeable about what's going on. And literature has played a big part in my life.
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