A Quote by Richard Wilbur
Composition for me is, externally at least, scarcely distinguishable from catatonia.
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In the desert, an old monk had once advised a traveler, the voices of God and the Devil are scarcely distinguishable.
Anything good that I have written has, at some point during its composition, left me feeling uneasy and afraid. It has seemed, for a moment at least, to put me at risk.
Speed is scarcely the noblest virtue of graphic composition, but it has its curious rewards. There is a sense of getting somewhere fast, which satisfies a native American urge.
Composition is a side issue. Its role in my selection of photographs is a negative one at best. By which I mean that the fascination of a photograph is not in its eccentric composition but in what it has to say: its information content. And, on the other hand, composition always also has its own fortuitous rightness.
As one grows older one must try not to work oneself to death unnecessarily. At least that's how it is with me... I can scarcely keep pace and must watch out that the creative forces do not chase me around the universe in a wallop.
Good composition is like a suspension bridge; each line adds strength and takes none away... Making lines run into each other is not composition. There must be motive for the connection. Get the art of controlling the observer – that is composition.
In some exquisite critical hints on "Eurythmy," Goethe remarks, "that the best composition in pictures is that which, observing the most delicate laws of harmony, so arranges the objects that they by their position tell their own story." And the rule thus applied to composition in painting applies no less to composition in literature.
That was the deal basically: catatonia without; frenzy within
The Earth is a very small stage in a vast cosmic arena. Think of the rivers of blood spilled by all those generals and emperors so that, in glory and triumph, they could become the momentary masters of a fraction of a dot. Think of the endless cruelties visited by the inhabitants of one corner of this pixel on the scarcely distinguishable inhabitants of some other corner, how frequent their misunderstandings, how eager they are to kill one another, how fervent their hatreds.
I'm a project guy, but when my list of things to do gets too long or involved, it can stress me out to the point of catatonia. So I focus on the small stuff first and keep the larger picture as motivation - but not so close that it overwhelms.
When I get too worked up about things I have always escaped into catatonia.
If I'm creating the composition, it's easier for me as an actor because I've just cut out the middle man. Because I've created the composition and now I'm in it, I already know exactly what I want to get out of it. So, bang!
What I end up shooting is the situation. I shoot the composition and my subject is going to help the composition or not.
To be a good improviser, you have to study composition as a parallel. Because what improvisation is, on a high level, is spontaneous composition.
I scarcely know a professional man I can like, and certainly not one who has been what the world calls successful, that I should the least wish to resemble.
The composition is the thing seen by everyone living in the living they are doing, they are the composing of the composition that at the time they are living is the composition of the time in which they are living.
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