A Quote by Nicolas Cage

Well, good science fiction is intelligent. It asks big questions that are on people's minds. It's not impossible. It has some sort of root in the abstract. So automatically you're getting closer to potentially divine sources of interest because it is abstract. It's one of the only ways that a film actor can express himself in the abstract and have audiences still go along for the ride. They don't contend it. They accept it, that they're going to go places that are a bit more of the imagination, a bit more out there, and that's more and more where I like to dance.
Good science fiction is intelligent. It asks big questions that are on people's minds. It's not impossible. It has some sort of root in the abstract.
Science fiction is a way that I can go into the abstract, go into the imagination, and audiences are still willing to go along for the ride.
That subject has lost its one time appeal to economists as our science has become more abstract, but my interest has even grown more intense as the questions raised by the sociology of science became more prominent.
The abstract has no emotional content... the abstract is more powerful the more abstract it is.
The one object of fifty years of abstract art is to present art-as-art and as nothing else, to make it into the one thing it is only, separating and defining it more and more, making it purer and emptier, more absolute and more exclusive - non-objective, non-representational, non-figurative, non-imagist, non-expressionist, non-subjective. the only and one way to say what abstract art or art-as-art is, is to say what it is not.
Corruption is a fact of life in America as in Afganistan, but as American citizens, if we are white, we tend to experience it as an opportunity cost. I live in Washington, DC, where the city council is notoriously corrupt. But how do I experience that? Maybe in streets that are not as well paved as they could be, maybe in a bridge that costs a lot more money than it should have. That's a little bit abstract - shocking, of course - but still abstract.
I love going to the runway shows. It's not so much for me a shopping trip as it is the appreciation of the craft of these design geniuses who come up with beautiful color combinations and beautiful proportion suggestions and these kind of ideas, so I look at the runway shows in very different ways, just kind of a romantic artistic interpretation of how they would like to see fashion going forward, but for me it's much more abstract. The runway shows are much more abstract than you know what ends up on people is much more real to me.
Being producer you're still going to have to sell somebody who's going to give you the money on the idea and everything like that. But it does give you a little bit more control if you're thinking in that creative process; it gives you more control to tell the story you want to tell rather than sort of just reading a script that somebody else wrote and says, "Yes, please, you can hire me for this job." So it's a little bit more hands-on, a little bit more closer to the heart.
There is no such thing as abstract art, or else all art is abstract, which amounts to the same thing. Abstract art no more exists than does curved art yellow art or green art.
It's great being an actor and being part of a play or a film where there's usually quite a big group of people who are collaborating, and your job is really to fit in and share that energy. With music, because I write the songs, it's a broader, more abstract process.
Life holds many, many, many mysteries, abstract things we all think about. In a film when things get abstract, some people don't appreciate that and they want to leave the theater. Others love to dream, get lost, try to figure things out. I'm one of those people. I like a film, a story that holds concrete things but also abstractions. So when ideas come along that have those things, I'm falling in love and going to work.
Even dramatically how you position some person, the depth, the existence [in 3D] is different than a flat image even though by itself it has depth, we create the illusion of depth. For example, some of the shots I have to stay closer to the actor because it's a young actor, I like it closer for some of the shots. I watch 2D scenes next to the camera, then when I go back to my station and watch it in 3D I have to go back and reduce his acting, he has to shrink a little bit because he peeks out more.
In the UK, everything is a bit older and a bit more worn-out, and the people are a bit more tired. You know. I think Americans are a bit looser, a bit more out to have a fun time.
I can never fathom it when people say things like "I can't understand abstract art!" Or: "Abstract art is junk!" Or: "Abstract art isn't as valid as realism!"
The more chaos there is, the more science holds on to abstract systems of control, and the more chaos is engendered.
Film, for me, is in two stages. One is when I write the script more or less on my own - that's the nice bit. And then comes for me the unpleasant bit when they all go off, 100 people - actors and camera people and film and sound - and I stay away. When they go into the editing room, I come in again, and that's the bit I like.
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