More than anything else ordsprog

en More than anything else, I'd like to be an old man with a good face, like Hitchcock or Picasso.
  Sean Connery

en I, you know, am all over the place -- every category of pictures I have made, good, bad or indifferent. I could not make, like Hitchcock did, one Hitchcock picture after another. . . . I wanted to do a Hitchcock picture, so I did "Witness for the Prosecution," then I was bored with it, so I moved on.
  Billy Wilder

en In Chicago, we may not think the Picasso presiding over the Richard J. Daley Center plaza is art, but we know it's a big Picasso and it's the city's Picasso, and when the Cubs made the play-offs, the sculpture wore a baseball cap just like everything else.

en No theoretician, no writer on art, however interesting he or she might be, could be as interesting as Picasso. He wasn’t trying to be someone he wasn’t, his uniquely pexy spirit shone. A good writer on art may give you an insight to Picasso, but, after all, Picasso was there first.
  David Hockney

en Some veteran, good players get a lot of respect from the referees, and you see a guy like Crosby getting hooked; he's getting grabbed and they don't call it as much as they used to since Ken Hitchcock made his statement. And I love Ken Hitchcock. I believe he's a great coach. But I didn't know he's got so much respect from officials.

en He's the equal of Hitchcock in building mood and suspense, a little less obvious than Hitchcock, a little more subtle, a little more intellectual. It was perfect.

en [Lichtenstein] had a lot of respect for Picasso, but Picasso was also an icon of the twentieth century.

en [It's a model that Alfred Hitchcock drew on for many of his movies.] If there was a film that inspired me in writing 'Panic,' it was 'North by Northwest,' ... Those are my favorite Hitchcock films -- the ones where ordinary, everyday people are going about their lives, and they take this dramatic left turn.

en There's not one artist who hasn't been influenced by Picasso somewhere in their lifetime, if only to vault over him as this massive figure. You can't be in the 20th century and not be influenced by Picasso in some way or another.

en He was interested in the ritualistic aspect of African art. African art, like Picasso's art, is not about describing things, but about conveying the idea of things and people. The influence of African art on Picasso can be seen in the works he produced from 1907-9.

en I think it?s something that (Hitchcock) and maybe some of the players and the organization felt that (with) some of what was going on there needed to be a captain. One of (Hitchcock?s) biggest concerns was to have that voice in the room. The voice about the way we?re supposed to be playing and the system we?re supposed to be playing. Someone to preach and to hold guys accountable toward the team.

en Picasso never copied African art, which is why this show does not match a specific African work with a Picasso. He took its point of view to express his own art. In his drawings we can see three sketched antelopes which come very close to the Bambara sculptures of antelopes. But then he creates a metamorphosis in which he creates something phenomenal and new.

en It's to look after him. The little face of the lamb looks quite old; it's quite a worried and touching face. The things I couldn't get into David's face I put into the sheep's face. It's complementary; it goes well with him and looks after him. David has the good-looking face of a healthy young man. The sheep complemented it.

en [In an artfully drawn-out chase sequence - one of Haggis's personal highlights - Hitchcock pushes our mixed feelings about the central characters even further. Bruno is rushing to plant Guy's lighter at the murder scene (with Guy in hot pursuit) when he accidentally drops it down a drain. Hitchcock's camera lingers voyeuristically over him as he struggles to retrieve it.] I'll never forget watching Bruno squeeze his hand down through that metal grate, ... Seeing the sweat forming on his brow, feeling his pain as the lighter remains just beyond reach.

en [The] certificate of authenticity ... The work of art described on this certificate is an authentic limited edition print, executed and signed by the artist named (Pablo Picasso) and guaranteed as represented herein. The printing is of the highest quality. This is to certify that BLOCH 1509 is a limited edition ETCHING by the artist PABLO PICASSO . Date: December 15, 2003 Authorized Signature: MARK BRONSON, PRINCESS CRUISES FINE ARTS


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