I paint mostly from real life. It has to start with that. Real people, real street scenes, behind the curtain scenes, live models, paintings, photographs, staged setups, architecture, grids, graphic design. Whatever it takes to make it work.

Where I think the most work needs to be done is behind the camera, not in front of it.

There are no rules of architecture for a castle in the clouds.

Their houses are all built in the shape of tents, with very high chimneys.

All architecture is great architecture after sunset; perhaps architecture is really a nocturnal art, like the art of fireworks.

I have been very interested and intrigued and congratulatory toward President Bush and his paintings.

In the Raphael Room, the secret turned out to be that only some of the paintings were made by the great master; the rest were made by students. I had liked the ones by Raphael. This was a big jab for my self-confidence in my ability to appreciate art.

Someone did a graphic of me in my jersey, and Jordan, they dubbed him guarding me, and Kanye’s face was on both of us. That’s my favorite meme of all time – or so far to-date. I’m gonna have to get that blown up on my wall or something.

Personally, I like reading adventures which really have happened to people, because they show what kind of things might happen to oneself, and they teach one how to ‚Be Prepared‘ to meet them.

Exploration by real people inspires us.

In real life, I’m a really smiley person. I smile when I talk and I laugh.

I was planning to go into architecture. But when I arrived, architecture was filled up. Acting was right next to it, so I signed up for acting instead.

I’m standing behind a wall of jokes. You don’t know about my personal life, my girlfriends, or what I do when I’m not on the road. There’s this guy, this comedian, and this is how he thinks, but people really don’t know anything about me.

Prose is architecture, not interior decoration, and the Baroque is over.

I am completely fascinated by the differences and comparisons between real life and fairy tales because we’re raised as little girls to think that we’re a princess and that Prince Charming is going to sweep us off our feet.

An architect should live as little in cities as a painter. Send him to our hills, and let him study there what nature understands by a buttress, and what by a dome.

Suburban houses and tin sheds are often the objects of ridicule.

I call architecture frozen music.

I am so excited to extend myself behind the scenes as a designer and to – as my father puts it – finally have a real job.

Switzerland is a small, steep country, much more up and down than sideways, and is all stuck over with large brown hotels built on the cuckoo clock style of architecture.

Real life is the life that’s in you, not your circumstances, like where you live or what job you have or who you’re in relationship with.

They can do without architecture who have no olives nor wines in the cellar.

The world is governed by very different personages from what is imagined by those who are not behind the scenes.

I think country music is popular – has been popular and will always be popular because I think a lot of real people singing about a lot of real stuff about real people. And it’s simple enough for people to understand it. And we kind of roll with the punches.

The terrifying and edible beauty of Art Nouveau architecture.

The secret to the movie business, or any business, is to get a good education in a subject besides film – whether it’s history, psychology, economics, or architecture – so you have something to make a movie about. All the skill in the world isn’t going to help you unless you have something to say.

The old cathedrals are good, but the great blue dome that hangs over everything is better.

The earliest paintings I loved were always the most non-referential paintings you can imagine, by painters such as Mondrian. I was thrilled by them because they didn’t refer to anything else. They stood alone, and they were just charged magic objects that did not get their strength from being connected to anything else.

I felt extremely uncomfortable as the focal point, in the spotlight. I really like the behind the scenes role, because all my freedom is there.

The thing that will never go away is that connection you make with a band or a song where you’re moved by the fact that it’s real people making music. You make that human connection with a song like ‚Let It Be‘ or ‚Long and Winding Road‘ or a song like ‚Bohemian Rhapsody‘ or ‚Roxanne,‘ any of those songs. They sound like people making music.

It is impossible, as impossible as to raise the dead, to restore anything that has ever been great or beautiful in architecture. That which I have insisted upon as the life of the whole, that spirit which is given only by the hand and eye of the workman, can never be recalled.

Whether I’m running on the beach without my shirt or whether I’m going out with my kids or going to church or going out to dinner – I don’t choose to insulate myself in engaging in real life. Hence, the public kind of almost knows me as much through my real life that they see through the rag mags.

You just don’t know when you get in the editing room what you will need as a link or a tool for a transition. If you’re in a room, and there’s a kettle boiling, get a shot of it. Don’t worry if people think you’re nuts.

No architecture is so haughty as that which is simple.

Paintings have a life of their own that derives from the painter’s soul.

One’s real life is so often the life that one does not lead.

Frank Lloyd Wright… his things were beautiful but not very functional.

I’ve played real people before, but I never knew them.

I have a big box of autographs. I took photographs of me and Marlene Dietrich, me and Ida Lupino. I took pictures of Myrna Loy and Joel McCrea in front of the studios. I loved Hollywood. I have 500 autographs and 500 photographs I took.

The common thread for everything I do is this idea of a Web-services architecture. What does that mean? It means taking components of software and systems and having them be self-describing, so that you can aim them, ask them what their capabilities are, and communicate with them using a standard protocol.

Fashion is architecture: it is a matter of proportions.

We require from buildings two kinds of goodness: first, the doing their practical duty well: then that they be graceful and pleasing in doing it.

When you are an actor, you have to stay inside this world, but when you are with the crew, on the outside, you are in the dirt, working through all the issues. It’s just a different way of working, and I think I preferred it.

It seems a fantastic paradox, but it is nevertheless a most important truth, that no architecture can be truly noble which is not imperfect.

No person who is not a great sculptor or painter can be an architect. If he is not a sculptor or painter, he can only be a builder.

From the heights of these pyramids, forty centuries look down on us.

We shape our buildings; thereafter they shape us.