Thank you for allowing me to use colors as rich and deep as you please. I had always wanted to do so, yet was never allowed because of the color capabilities of our lithographers. Now that I have done it, I don't think I'll ever go back.
The art of an artist must be his own art. It is... always a continuous chain of little inventions, little technical discoveries of one's own, in one's relation to the tool, the material and the colors.
Every time I get a script it's a matter of trying to know what I could do with it. I see colors, imagery. It has to have a smell. It's like falling in love. You can't give a reason why.
By painting colors and lines and forms seen in quickened mood I was seeking to make this mood vibrate as a phonograph does. This was the origin of the paintings in The Frieze of Life.
A lot of the American press at the time was saying 'just watch what happens when Bertelsmann tries to buy EMI, that will be a moment of truth that will show the Commission's true colors.' Well, that deal never happened either.
My characters have undergone the same process of simplification as the colors. Now that they have been simplified, they appear more human and alive than if they had been represented in all their details.