A Quote by Walter J. Phillips

Many of the old masters of watercolour painted from notes, with enthusiasm either unabated or renewed. It is hard to assume the same degree of concentration in the studio, but not impossible.
In Sweden for example people with PhDs have lower mortality than those with a masters degree. And people with a masters degree or a professional degree are not poor.
Enthusiasm is followed by disappointment and even depression, and then by renewed enthusiasm.
I was a full time student either at Stony Brook or NYU getting my masters degree. After I graduated with my masters I was working as a nutritionist and a personal trainer. So I have always had other business or other things going on while training for a fight.
You have to have all these elements of a feature but with a third of the length. And also the development process - there are so many more steps in getting notes from the studio, getting notes from the network.
Art is a process of concentration. It is both the distilled essence and the commentary upon otherwise mundane activities and reflections. Musical notes must be charged, must gather more than one and the surface meaning, must reveal audible and "inaudible" connections to other notes, patterns, and meaning, either by way of affinity or contrast.
The nature of the task needs to be renewed so people just don't feel that all the hard work is in the same groove all the time, under the same circumstances and in the same environment.
It has been said that "to enthuse" means "to fill with spirit," and that spirit of enthusiasm is awaiting release or manifestation. Enthusiasm can be harnessed and activated. It can be transferred from one person to another. The energy of enthusiasm is similar to a radio signal that carries around the world. It can be transmitted and received; and when enthusiasm is shared by a group of people, it can be potentiated to a higher degree of power.
How many impressionist painters painted the same damned thing? How many actors have played the same part in renditions of a play or dancers do the same dances.
I work hard at it [delivery of lyrics], just like I worked hard at getting my masters degree. It's not just something I sit down and do. You have to learn and keep learning.
Every so often every artist feels, 'I'll never paint again. The muse has gone out the window.' In 1985, I hardly painted at all for three months, and it was agonizing. I looked at reproductions. I stared at Matisse. I stared at the Old Masters. I stared at the Quattrocento. And I thought to myself - Don't push it! If you try too hard to get at something, you almost push it away.
With watercolour, you can pick up the atmosphere, the temperature, the sound of snow shifting through the trees or over the ice of a small pond or against a windowpane. Watercolour perfectly expresses the free side of my nature.
One of the worst things anybody can do is assume. I think fools assume. If people have really got it together, they never assume anything. They believe, they work hard, and they prepare- but they don't assume.
I think audiences sometimes mistakenly assume a quality performance comes from some great emotional disturbance rather than really intense concentration. Concentration and flow is what it's all about.
I've voted in every election - not always for the same political party and never with any degree of enthusiasm.
My experience is that there's absolutely a correlation between the enthusiasm within an animation studio for a given character and the enthusiasm the audience feels when seeing the movie.
The masters painted for joy, and knew not that virtue had gone out of them. They could not paint the like in cold blood. The masters of English lyric wrote their songs so. It was a fine efflorescence of fine powers.
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