A Quote by Gustave Moreau

When I want to render these fine nuances, I do not find them in the subject, but in the nature of women in real life who seek unhealthy emotions and are too stupid even to understand the horror in the most appalling situations.
A man marries the most gorgeous girl he can find because It's human nature to want the best of anything. If other men admire her he likes that, too. We all work best under competition. After all, no one wants to face an egg beater across the breakfast table... or find a horror movie in his home when he doesn't even own a TV set.
So, ultimately, in order to understand nature it may be necessary to have a deeper understanding of mathematical relationships. But the real reason is that the subject is enjoyable, and although we humans cut nature up in different ways, and we have different courses in different departments, such compartmentaliz ation is really artificial, and we should take our intellectual pleasures where we find them.
The area between the nose and the chin, the subject of kissing and the vehicle for speech, is perhaps even more known and set upon than the eyes. The mouth is also riddled with a complex interweaving of folds, curves, flats and lost-and-found edges. These nuances are needed by a perceptive person who might try to understand human nature.
At the heart of any drama, there's conflict. When you are acting, you get to play out the confrontations you want to have in real life but can't. Or the emotions that you would want to have in real life, but sometimes they are too difficult.
Hope. People want hope. We crave hope. We long for hope. Hope has been present since the very beginning. And almost in the worst situations of human history, you often find the greatest amount of hope. The very nature of the situation, the way stepped-on people created within them even more hope than when things were going fine. Hope has always been around.
What makes a subject difficult to understand ? if it is significant, important ? is not that some special instruction about abstruse things is necessary to understand it. Rather it is the contrast between the understanding of the subject and what most people want to see. Because of this the very things that are most obvious can become the most difficult to understand. What has to be overcome is not difficulty of the intellect but of the will.
If I can't find real situations that interest me in real life, then I'll go and write them in play form.
I spent a lot of my adult life overcoming fear. It was a subject I knew a lot about, and it's one of the most important and most powerful human emotions. Fear is one of the greatest driving forces in the world. So I thought I could go into the horror genre and do things differently and contribute a different point of view.
I try to stay fit and eat healthily, but I am not anxious to starve myself and become unnaturally thin. I don't find that look attractive on women and I don't want to become part of that trend. It's unhealthy and it puts too much pressure on women in general who are being fed this image of the ideal, which it is not.
When you're talking horror or sci-fi, you're working in a genre that has loosely certain thematic elements, or, you could even call them rules. But rules are there to be broken. I think that young filmmakers should go all the way back to the history of horror, from silent films like "Nosferatu", and through to today's horror films, so they understand the history of horror films and what has been done. Understand that, and then add something new or original.
Even though this is a business you do have people here that you're with every day, like your family. You want to go play for them and you want to win with them. You have to find a way to do that but understand that there is a business side to it. You have to find a way to understand.
No human being, when you understand his desires, is worthless. No one's life is nothing. Even the most evil of men and women, if you understand their hearts, had some generous act that redeems them, at least a little, from their sins.
I want my paintings to give the viewer a true sense of reality - that includes but is not limited to depth, scale and a tactile surface as well as the real sense of what the subject looks like and is feeling at the time that I painted them. There should be a discourse between the viewer and the subject, to feel as though they are in a way connected. My goal is not to set a narrative but rather to have the viewer bring their own experiences to the painting and the subject as they would if they had seen the subject on the street in real life.
Self-indulgence is something to watch, but anything that helps you understand situations that are difficult to understand is good. If you're having some sort of emotional trauma, you need to find a person to talk to about it who says, 'This is quite normal; it's fine.'
...you'll find that being a friend is to like a person for who they are, even the parts you don't understand. You don't have to understand, or do the same, or live their lives for them. If you truly care for them, then you want them to be who they are; that was why you liked them in the first place.
I don't think these women are stupid. I think they're selling a personality that's very marketable: Wouldn't it be fun if we were all gorgeous and didn't have a care? But creating a cultural icon out of someone who goes, I'm stupid, isn't it cute? makes me want to throw daggers at them! I want to say to them, My grandma did not fight for what she fought for, and my mother did not fight for what she fought for, so you can start telling women it's fun to be stupid. Saying that to young women, little girls, my daughter? It's not OK.
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