Within two weeks of working with her, I realized how good she was for the role because she was absolutely with it and she has got terrific instincts, I think, as an artist, too.

To be a character who feels a deep emotion, one must go into the memory's vault and mix in a sad memory from one's own life.

I'm doing another Churchill. I did a Churchill for HBO and that was up to 1939 and there's talk of the war years. They were going to do it this fall, but the script wasn't going to be ready.

Well, I've always thought that my career was in England, really. I used to do more in the theatre, and I felt that I should be there. It's not far is it? It's amazing the way that special FX have taken a quantum leap in what they're capable of doing.

I like playing accents, and doing things like that, it was fun. It was fun.

When I read the script, I liked the script very much and I thought it was a marvelous part for her, because I think it is a change of pace. I mean, we know how wonderful she is in romantic comedy.

All we did in Alabama was have a read through with the script, but there was, 'No, well, it needs more. You've got to do this, Albert. You've got to do that, Jessica.' It didn't feel like that at all.

I don't think that we necessarily lie. I mean, we make our living by pretending that we're someone else. I don't tell tall tales. I always tell the truth.

It was great to do and it's exciting to do those things. That's another thing, that one enjoys the game.

We're given the springboard of the text, a plane ticket, told to report to Alabama, and there's a group of people all ready to make a film and it's a marvelous life.

You just feel comfortable with him, and he certainly makes sure that you're comfortable. He makes sure that you feel good and that you're happy with what you're doing.

He tells you stories, but then, after a while, when you want more, he doesn't give you more. He insists on this old elaboration, the old stories that never changes.

I'm not bothered by the paparazzi and I don't feel hemmed in, I've never felt that. My youth, mind you, there wasn't quite the same attention to celebrities as there is now, but I've never felt that.

I don't enter, I'm entered. It's up to someone else. It's up to them.

You come on as a guest. You don't get the girl anymore. But that is our lives. You start off as the boyfriend, then you are the lover, then you are the husband, then you are the father, and then you are the grandfather.

Within two weeks of working with her, I realized how good she was for the role because she was absolutely with it and she has got terrific instincts, I think, as an artist, too.

No, she is right up there with the best I've worked with. I was very impressed with her, I really was.

I haven't seen the film yet because I just got in from London. In the scenes where the two characters are bantering with each other, it is like bobbing at the net in tennis.

I think that one of Tim's great qualities and abilities is in what seems like a thumbnail sketch to get something quite telling, very simply, when you're doing it or being in that thumbnail sketch, you don't feel that it's important.

She is up there with the best of them. I can only talk about my experience, but it was genuinely special.

I mean, I did a film, a musical of 'Scrooge', in '70, and the tricks were done by flat clothes and mirrors. I hope that the day will come when we don't have to turn up at all.

My dad was great. He was very droll, very dry.

She goes on the set with headphones and gives you notes. She's terrific and I always run to her now, because she is just great to work with, as well as very good at different accents.

That is one of the reasons one enjoys acting. Now and again, you get scenes where you work with somebody really good and you have a good time trying to make it really work and really work well.

I was in London. It's a long way to go for a very long party, sitting there for six hours not having a cigarette or a drink. It's a waste of time.

My girlfriend and I rented a nice house on the river and I was there for about two and a half months, and we were just out of Alabama. I hardly got to see Alabama.

I think that I'm busy in the present, and I don't want to go back. Well, there's been an unauthorized biography, and you can't stop them. It didn't worry me.

There might've been wires, but I have this ability to make myself light. Well you know what, in ballet, when you kind of lift yourself here, it's all up in the head.

We meet before the movie and she gives you charts with sounds on them and makes a tape of examples. While they are setting up the scene, I go with her to the trailer and we go through the scene and correct the speech.

It's a marvellous life, a gregarious life that we've had. We're very lucky in that way. Unlike writers or painters, we don't sit down in front of a blank canvas and say, 'How do I start? Where do I start?'

They have to exist or not in their own right. I mean, with kids, you don't say, 'Which is your favourite,' or 'Which did you enjoy bringing up the best?'

Being a cover artist is not like being a real artist. That's just copying what someone else did.

The artist need not know very much; best of all let him work instinctively and paint as naturally as he breathes or walks.

What an artist learns matters little. What he himself discovers has a real worth for him, and gives him the necessary incitement to work.

Beauty, like truth, is relative to the time when one lives and to the individual who can grasp it. The expression of beauty is in direct ratio to the power of conception the artist has acquired.

I'm inspired by nature. Other artist's work is important for developing my perception.

There is only one position for an artist anywhere; and that is upright.

The difference between a bad artist and a good one is: the bad artist seems to copy a great deal; the good one really does.

To say that an artist sells out means that an artist is making a conscious choice to compromise his music, to to weaken his music for the sake of commercial gain.

What do you say when someone has truly inspired you? How do you express to an artist how deeply their work has affected you?

An original artist is unable to copy. So he has only to copy in order to be original.

When I say artist I mean the man who is building things - creating molding the earth - whether it be the plains of the west - or the iron ore of Penn. It's all a big game of construction - some with a brush - some with a shovel - some choose a pen.

You have to find what makes you stable in the storm. Then, no matter what's happening round you, no matter what the hype or the publicity, you can still manage to make leaps in your work as an artist.

The key to the mystery of a great artist is that for reasons unknown, he will give away his energies and his life just to make sure that one note follows another... and leaves us with the feeling that something is right in the world.

I've always felt that if one was going to take seriously this vocation as an artist, you have to get beyond that decorative facade.

Art is a private thing, the artist makes it for himself; a comprehensible work is the product of a journalist. We need works that are strong, straight, precise, and forever beyond understanding.

The most colorful section of a bookstore is the display of SF books, with art by people like Wayne Barlow, who is a terrific artist.

Arguably, no artist grows up: If he sheds the perceptions of childhood, he ceases being an artist.

Let not a man do what his sense of right bids him not to do, nor desire what it forbids him to desire. This is sufficient. The skillful artist will not alter his measures for the sake of a stupid workman.