In the 19th century, you had bourgeois art without politics - an almost frozen idea of what beauty is.

Rock Hudson was not an educated man, but that very beautiful body of his was putty in my hands.

So slowly in my mind formed the idea of melodrama, a form I found to perfection in American pictures. They were naive, they were that something completely different. They were completely Art-less.

The war was the end of an era, in art as well. And we were trying to create a new philosophy.

And it really began with Einstein. We attended his lectures. Now the theory of relativity remained - and still remains - only a theory. It has not been proven. But it suggested a completely different picture of the physical world.

I worked for UFA as a set designer, you know.

Ross Hunter was my assistant on Take Me to Town, He was a young man, an actor before that, and learned a lot on the picture. During shooting, Goldstein left, and Ross was most pleasant. He never interfered.

Throughout my pictures I employ a lighting which is not naturalistic.

At the same time, of course, Marxism arose - Rosa Luxembourg, Leninism, anarchism - and art became political.

There arose a belief in style - and in banality. Banality encompassed politics, too, because it was a common belief that politics were not worthy of art.

A director in Hollywood in my time couldn't do what he wanted to do.

If I can say one thing for my pictures, it is a certain craftsmanship. A thought which has gone into every angle. There is nothing there without an optical reason.

At the time I belonged to the socialist party, and Hitler came to power.

Yes, I was hired by Universal because they needed a comedy director. They had seen Scandal and liked it. I saw an opportunity even in those comedies to begin my project of American films.

These happy endings all express the weak and sly promise that the world is not rotten and out of joint but meaningful and ultimately in excellent condition.

I never regarded my pictures as very much to be proud of, except in this, the craft, the style.

I considered that the homes that people live in exactly describe their lives.

Your camera is the best critic there is. Critics never see as much as the camera does. It is more perceptive than the human eye.

I think the great artists, especially in literature, have always thought with the heart.

Your characters have to remain innocent of what your picture is after.

Intellectualism came very late to America. That's why Americans are so proud of it. I found very few real intellectuals in America. But there are so many pseudo-intellectuals.

And in movies you must be a gambler. To produce films is to gamble.

But I always wanted my characters to be more than cyphers for the failings of their world. And I never had to look too hard to find a part of myself in them.

My idea at this time, which was slowly developing, was to create a comedie humaine with little people, average people - samples from every period in American life.

You have to think with the heart.

In the 19th century, you had bourgeois art without politics - an almost frozen idea of what beauty is.

If I couldn't read, I couldn't live.

I was making films about American society, and it is true that I never felt at home there, except perhaps when my wife and I lived on a farm in the San Fernando Valley.

For a house, somewhere near Los Angeles I found an old church. Very old, no longer used. So we moved the church to the land, and I took off the steeple, and I got my hands dirty.

This is the dialectic - there is a very short distance between high art and trash, and trash that contains an element of craziness is by this very quality nearer to art.

Art teaches nothing, except the significance of life.

The principal rule of art is to please and to move. All the other rules were created to achieve this first one.

I grew up with art from the innocent age of ten - with art, but with no sense of identity.

One does not devote one's life in art to shock an audience.

The other great development has been in photography, but that too was influenced by Conceptual art.

My art became very public.

Riding a race bike is an art - a thing that you do because you feel something inside.

The idea is, if I can't heal from my art, then how can you heal?

But in the finished art of the song the use of words has no connection with the use of words in poetry.

One does not need buildings, money, power, or status to practice the Art of Peace. Heaven is right where you are standing, and that is the place to train.

I don't believe in art. I believe in artists.

Art cannot be modern. Art is primordially eternal.

Without art, the crudeness of reality would make the world unbearable.

We have often been attracted to the story of the other, the outcast. And he and I just loved working together, so it just kept happening, and our relationship is completely bound up with our work. We enjoy each other's art.

Where the spirit does not work with the hand, there is no art.

It is veneer, rouge, aestheticism, art museums, new theaters, etc. that make America impotent. The good things are football, kindness, and jazz bands.

At the University of Maryland, my first year I started off planning to major in art because I was interested in theatre design, stage design or television design.

Art is an expression of who you are. Parts that I play are my sculptures.

There has always been quite a strong black and white art tradition in Australia, with quite a large contingent of cartoonists, given the size of the population.