A Quote by Van Heflin

My predecessors in this business of acting were fully convinced their work would never be recorded, except in the form of reviews or paintings. — © Van Heflin
My predecessors in this business of acting were fully convinced their work would never be recorded, except in the form of reviews or paintings.
Well, they just don't know anything else except that one form of their business, acting, and they don't really want to learn any other part of it, or they would. Directing and producing and putting a show together is very creative, for me.
Everyone in show business makes these sweeping, "I'll never work with so-and-so again," because that's the way you feel at the moment. It's a business where there really is no point in ever saying never. There are people I've sworn that I would never go near again, and then you see an interesting role that would put you opposite that person and you think, "Well, we'll work together, maybe they were having a bad year."
If there were no nobodies, The somebodies would not have anybody, To convince that they were somebody, Except some other somebody, Who would not be convinced anyway.
Academic Marxists were never going to be convinced that anything that happened in the real world could invalidate their belief system. Utopians of the Right, libertarians are just as convinced that their ideas have yet to be tried and that they would work beautifully if we could only just have a do-over of human history.
I've never gone to acting school and I never will, so I'm learning about the business from the people who are in the business. It doesn't seem like I work at all. And the unknown is always exciting.
Funnily enough, when I was leaving school and they asked you what you were going to do, and I just liked acting, that's never what I would say. I would always say I would go into business, even though I didn't really know what was meant by that.
I don't do so much acting work now, as there aren't the parts except for 'Tango'. So if I didn't have the cabaret work, I don't know what I would be doing.
I never had a doubt about wanting to be an actress, but certainly when there were periods of unemployment, I would think, "Oh, I'm never going to work again." The only thing I don't like about it is the business part of it - the negotiating and all this stuff that you don't learn in school. I'm not good with business.
People are always talking about originality; but what do they mean? As soon as we are born, the world begins to work upon us; and this goes on to the end. And after all, what can we call our own, except energy, strength, and will? If I could give an account of all that I owe to great predecessors and contemporaries, there would be but a small balance in my favor.
The spot paintings and spin paintings were trying to find mechanical ways to make paintings.
But if we never acted except when we were certain our motives were pure, we would never act at all.
What if at school you had to take an 'art class' in which you were only taught how to paint a fence? What if you were never shown the paintings of Leonardo da Vinci and Picasso? Would that make you appreciate art? Would you want to learn more about it? I doubt it..........but this is how math is taught and so in the eyes of most of us it becomes the equivalent of watching paint dry. While the paintings of the great masters are readily available, the math of the great masters is locked away.
Picasso and Matisse were the guys I wanted to get away from, and cubism is all still lifes. Their paintings are all closed drawings. And still life is a perfect form for that. By the mid-'50s, I sort of dropped the still life. The large picture was a way of getting around them, too. The abstract expressionists were also into the large form because it was a way of getting around Matisse and Picasso. Picasso can't paint big paintings. Matisse didn't bother after a certain point.
I am convinced that, except in a few extraordinary cases, one form or another of an unhappy childhood is essential to the formation of exceptional gifts.
You were told how much space so it was a matter of whether you could send in two paintings or three paintings, you know, pending where the show was being held. You did submit work to be accepted. Once you were accepted that was it. You did your own selection of what went in.
If I'd known white people were going to buy my last album, I never would have recorded it.
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