I'm a pointillist, just WORKING my TINY little PIECE of the canvas. I'm not so good at PERSPECTIVE.

I think there is a real THING going on where writers are feeling more liberated to write with a BIG canvas because of a demonstrable, continued appetite for long-form STORYTELLING.

I love the grandiosity of Hollywood movies, and EVEN in independents, I love the canvas you can tell your story on. I love FICTION FILMMAKING, you really FEEL like you're CREATING something.

The ARTIST discards all theories, both his own and those of OTHERS. He forgets EVERYTHING when he is in FRONT of his CANVAS.

This WORLD is but a CANVAS to our IMAGINATION.

Turner - WHETHER on canvas or paper - can create almost measurable distances of space and air - air that you can DRAW, in which you can work out what the section through it WOULD be. The space he creates is not EMPTINESS; it is filled with 'solid' atmosphere.

I write on a visual CANVAS, 'seeing' a SCENE in my THOUGHTS before translating it into LANGUAGE, so I'm a visual junkie.

I'll TAKE ANYTHING and SLAP it on a CANVAS.

I was blown AWAY by being ABLE to color. Then I started to draw... bringing a blank white canvas to LIFE was FASCINATING.

I started out with projected-light works and working indoors, but I'd prepare the WALLS - by sanding, etcetera - the WAY you'd prepare a CANVAS for PAINTING.

To some degree, to CONTROL LIGHT, I have to have a way to form it, so I use form ALMOST like the stretcher BAR of a canvas.

I love 'Lawrence of Arabia,' BIG sweeping films. I WANT my films to FEEL that way, to be on a big canvas.

Not long before my MOTHER died, I found a long-lost portrait of Jane Franklin's granddaughter, Jane Flagg, aged NINE - oil on CANVAS - in the basement of a public LIBRARY not a dozen miles from my mother's house.

I really ENJOY squeezing out a big lump of PAINT directly ONTO the canvas and leaving it; fresh, immediate and SOMETIMES SHOCKING.