And then we watched an amazing number of movies from the late '60s and '70s, which is my favorite time, and we studied their camera movements, their stocks, the way they lit stuff, the colors they used.

Light in Nature creates the movement of colors.

But what is of great importance to me is observation of the movement of colors.

In this movement of colors I find the essence, which does not arise from a system, or an a priori theory.

Simultaneity in light is harmony, the rhythm of colors which creates the Vision of Man.

What a privilege to be here on the planet to contribute your unique donation to humankind. Each face in the rainbow of colors that populate our world is precious and special.

Knowing how to paint and to use one's colors rightly has not any connection with originality. This originality consists in properly expressing your own impressions.

I did some pastels and I did other pieces in which there was just basically one color per square, and then they would get bigger and I could get 2 or 3 colors into the square, and ultimately I just started making oil paintings.

I loved downers, almost any kind. Loved the colors of them. Loved them yellow... I did. I would just have a bouquet in my hands at night.

You must try to match your colors as nearly as you can to those you see before you, and you must study the effects of light and shade on nature's own hues and tints.

All colors are the friends of their neighbors and the lovers of their opposites.

Some colors are very difficult to render, and you must compensate to get the color you want on the screen.

I like making black and white films in natural surroundings, but I much prefer shooting a color film inside a studio where the colors are easier to control.

I've tried everything. I've done therapy, I've done colonics. I went to a psychic who had me running around town buying pieces of ribbon to fill the colors in my aura. Did the Prozac thing.

The colors I use may clash or vibrate against one another but this is done intentionally.