Experience Quotes

कला की शुरुआत ब्रश और पैलेट से नहीं, बल्कि जीवन को देखने और समझने की कलाकार की क्षमता से होती है। पेंटिंग सीखने से पहले आपको जीना सीखना होगा।

Art doesn't begin with a brush and a palette, but with the artist's ability to perceive life. You have to learn how to live before you can learn how to paint.

Art doesn't begin with a brush and a palette, but with the artist's ability to perceive life. You have to learn how to live before you can learn how to paint.

तस्वीरें खींचने के दौरान काम आने वाली इम्प्रोवाइज्ड (तत्कालिक) बातें... जो मैंने शुरुआती दिनों में छोटे कैमरे के साथ काम करके सीखी थीं, [पोर्ट्रेट] बनाते समय तुरंत सोचने की मेरी क्षमता में बहुत काम आई हैं।

Improvisational things about picture-making... learned from working with the small camera early on have served me well in being able to think quickly when making [portraits].

Improvisational things about picture-making... learned from working with the small camera early on have served me well in being able to think quickly when making [portraits].

अगर पटकथा लिखते समय मुझे यह पता हो कि मेरी फिल्म का अंत (क्लाइमैक्स) क्या होगा, तो मुझे उससे पहले के हर दृश्य को पहले से तय करने की जरूरत नहीं पड़ती। मैं खुद-ब-खुद सही रास्ता ढूंढ लेता हूँ। ऐसा करने के लिए मेरे पास काफी अनुभव है।

If I know what my finale is when I'm writing a screenplay, then I don't always have to chart out every scene before that. I can adequately find my way. I'm experienced enough to do that.

If I know what my finale is when I'm writing a screenplay, then I don't always have to chart out every scene before that. I can adequately find my way. I'm experienced enough to do that.

जब मैंने 1999 और 2000 में इस बिजनेस की शुरुआत की थी, तब ऐसी कंपनियां भी थीं जो महज दो, तीन या चार साल में ही शेयर बाजार में उतर जाती थीं (पब्लिक हो जाती थीं)।

When I started in the business in 1999 and 2000, we had companies that were going public in two, three or four years.

When I started in the business in 1999 and 2000, we had companies that were going public in two, three or four years.

कीट-पतंगों का शोर इतना तेज़ था कि जब आप कार पार्क करके बाहर निकलते थे, तो ऐसा लगता था कि आपने अचानक किसी दूसरे ग्रह की रेडियो फ्रीक्वेंसी पर ट्यून कर लिया हो।

Insect life was so loud that when you parked the car and got out it sounded as if you had suddenly tuned into a radio frequency from another planet.

Insect life was so loud that when you parked the car and got out it sounded as if you had suddenly tuned into a radio frequency from another planet.

खैर, आप जानते ही हैं, मैंने सबसे पहले एल्टो और बैरिटोन (सेक्सोफोन) को छोड़ दिया और पूरी तरह से टेनर पर ध्यान केंद्रित किया, एक ऐसा फैसला जिसे लेकर मुझे कभी कोई पछतावा नहीं हुआ। दूसरी बात यह थी कि जब मैं वहाँ गया था तब मैं 17 साल का था, और पिछले कुछ सालों में मेरा ध्यान काफी हद तक आज़ाद और खुले संगीत पर केंद्रित हो गया था - कोलट्रैन अपने बड़े ग्रुप के साथ खेल रहे थे (परफॉर्म कर रहे थे), और हर कोई उसे बड़े ध्यान से सुन रहा था, साथ ही हम शेप और ऐलर को भी बहुत पसंद करते थे।

Well, you know, the first step I took was to drop the alto and baritone and concentrate on tenor exclusively, a decision I've never really looked back on with any regret. Another thing was that I was 17 when I moved up there, and my listening had really focused on freer music in the previous couple of years- Coltrane was playing with his expanded group, and everyone was listening closely to that, and we were into Shepp and Ayler as well.

Well, you know, the first step I took was to drop the alto and baritone and concentrate on tenor exclusively, a decision I've never really looked back on with any regret. Another thing was that I was 17 when I moved up there, and my listening had really focused on freer music in the previous couple of years- Coltrane was playing with his expanded group, and everyone was listening closely to that, and we were into Shepp and Ayler as well.

मेक्सिको की सड़कों के रंग और वहाँ के मेल-जोल भरे नज़ारों ने मेरे मन में एक ऐसी जगह और अनुभव की इच्छा जगाई जो लोगों को आपस में जोड़े। यह जुनून तब और विकसित हुआ जब मैं सिरैक्यूज़ यूनिवर्सिटी और फिर लंदन के आर्किटेक्चरल एसोसिएशन स्कूल में वास्तुकला की पढ़ाई कर रहा था। इतने सारे जीवंत और अलग-अलग तरह के माहौल में समय बिताने के बाद, यह नामुमकिन था कि मैं अपनी उन यादों और अनुभवों को अपने काम की प्रेरणा न बनाता।

The color and spectacle of Mexico's streets sparked my interest in community driven space and experience, a passion that I began to develop while studying architecture at Syracuse University and then at the Architectural Association School in London. Having been immersed in such a diverse array of lively environments, it would be impossible for me not to use these memories and experiences as inspiration for my work.

The color and spectacle of Mexico's streets sparked my interest in community driven space and experience, a passion that I began to develop while studying architecture at Syracuse University and then at the Architectural Association School in London. Having been immersed in such a diverse array of lively environments, it would be impossible for me not to use these memories and experiences as inspiration for my work.

लेकिन मेरे काम को जो चीज़ इतनी बेहतरीन बनाती है, वह यह है कि हर रेस्तरां के लिए कोई एक जवाब सही नहीं होता।

But what makes my job so great is there's no one answer that's right for every restaurant.

But what makes my job so great is there's no one answer that's right for every restaurant.

किसी छवि को बस देखते रहना और उसमें खो जाना बहुत सुखद होता है। यह बड़ा सहज लगता है। मुझे यह नज़रिया बहुत दिलचस्प लगा: मैं सारी मेहनत और कड़ा संघर्ष खुद करता हूँ ताकि आप आनंद ले सकें।

It's enjoyable to just drink in an image. It's effortless. That struck me as an interesting way of looking at it: I do all the grunt work so you can enjoy.

It's enjoyable to just drink in an image. It's effortless. That struck me as an interesting way of looking at it: I do all the grunt work so you can enjoy.

मुझे लगता है कि मेरा तरीका यही है: अगर किसी दृश्य को एक पूरा शॉट रखना सही लगता है, बिना लंबे समय तक कट लगाए उसे वैसे ही खींचना सही लगता है, तो यह बहुत बढ़िया है। लेकिन कुछ दृश्यों की माँग वैसी नहीं होती।

I think that's my approach: If it feels right for a scene to be whole, to hold on without cutting for a long time, then that's great. But other scenes, they don't want it.

I think that's my approach: If it feels right for a scene to be whole, to hold on without cutting for a long time, then that's great. But other scenes, they don't want it.

जब 1993 में पिक्सीज़ बैंड टूट गया, तो मैंने लंबे समय के लिए ड्रम बजाना छोड़ दिया था। मैं ज्यादा कुछ नहीं कर रहा था, तभी मैं एक मैजिक कन्वेंशन में गया जिसने शुरू में मेरा ध्यान खींचा। मैंने कक्षाएं लीं, वीडियो खरीदे और लगातार अभ्यास किया। मैंने पार्टियों में परफॉर्म करना शुरू कर दिया और जल्द ही यह समझ गया कि मंच पर अपनी प्रस्तुति तैयार करना अक्सर संगीतकार होने से ज्यादा कठिन होता है। मैंने अपने एक्ट में मनोरंजन के साथ-साथ विज्ञान को भी शामिल किया, जो मेरे लिए बेहद संतोषजनक रहा।

When Pixies broke up in 1993, I gave up the drums for the longest time. I hadn't been doing a lot, but I ended up attending a magic convention that initially got me interested. I took classes, bought videos, and practiced relentlessly. I began performing at parties and soon realized that developing an on-stage routine is often tougher than being a musician. I focused my act on magic that incorporated as much science as it did entertainment, which was really satisfying for me.

When Pixies broke up in 1993, I gave up the drums for the longest time. I hadn't been doing a lot, but I ended up attending a magic convention that initially got me interested. I took classes, bought videos, and practiced relentlessly. I began performing at parties and soon realized that developing an on-stage routine is often tougher than being a musician. I focused my act on magic that incorporated as much science as it did entertainment, which was really satisfying for me.

मुझे लगता है कि आज की दुनिया 2009 की दुनिया से बिल्कुल अलग है। और अब कुछ ऐसा सामने लाना जो थोड़ा और गहरा, तीखा, रूखा और चुनौतीपूर्ण हो, बिल्कुल सही लगता है।

I feel like the world is super different now than it was in 2009. And to get at something that's somewhat darker, harsher, rougher, and a bit more challenging feels right.

I feel like the world is super different now than it was in 2009. And to get at something that's somewhat darker, harsher, rougher, and a bit more challenging feels right.

मैंने कभी नहीं सोचा था कि 20 साल बाद, चैक़ी को एक क्लासिक का दर्जा मिल जाएगा, अगर मैं इस शब्द का इस्तेमाल कर सकूँ। खैर, एक पुरानी बेहतरीन चीज़, जिसे लोग 20 साल बाद भी उतनी ही परवाह से देखते हैं।

I never expected that, 20 years later, Chucky would be considered a classic, if I may invoke that term. A golden oldie anyway, something that people still care about 20 years later.

I never expected that, 20 years later, Chucky would be considered a classic, if I may invoke that term. A golden oldie anyway, something that people still care about 20 years later.

मैं चाहता हूँ कि मेरी पेंटिंग्स देखने वाले को वास्तविकता का एक सच्चा अहसास कराएं—जिसमें गहराई, पैमाना और स्पर्शनीय सतह के साथ-साथ इस बात का वास्तविक अहसास भी शामिल हो कि विषय कैसा दिखता है और जब मैंने उसे पेंट किया था, तब वह क्या महसूस कर रहा था। देखने वाले (दर्शक) और विषय के बीच एक संवाद होना चाहिए, ताकि उन्हें ऐसा महसूस हो कि वे किसी तरह से आपस में जुड़े हुए हैं। मेरा उद्देश्य कोई कहानी या पटकथा थोपना नहीं है, बल्कि दर्शक को पेंटिंग और उसके विषय के साथ अपने खुद के अनुभव जोड़ने की अनुमति देना है, बिल्कुल वैसे ही जैसे वे असल जिंदगी में किसी विषय को सड़क पर देखकर करते

I want my paintings to give the viewer a true sense of reality - that includes but is not limited to depth, scale and a tactile surface as well as the real sense of what the subject looks like and is feeling at the time that I painted them. There should be a discourse between the viewer and the subject, to feel as though they are in a way connected. My goal is not to set a narrative but rather to have the viewer bring their own experiences to the painting and the subject as they would if they had seen the subject on the street in real life.

I want my paintings to give the viewer a true sense of reality - that includes but is not limited to depth, scale and a tactile surface as well as the real sense of what the subject looks like and is feeling at the time that I painted them. There should be a discourse between the viewer and the subject, to feel as though they are in a way connected. My goal is not to set a narrative but rather to have the viewer bring their own experiences to the painting and the subject as they would if they had seen the subject on the street in real life.

जब मैं बच्चा था, तो मुझे हॉरर फिल्मों का बहुत शौक था। अस्सी के दशक में रिलीज़ होने वाली मैंने एक-एक हॉरर फिल्म देखी थी।

When I was a kid I was really into horror films. I watched every single horror film that came out in the 80s.

When I was a kid I was really into horror films. I watched every single horror film that came out in the 80s.

जब कोई हॉरर फिल्म अच्छी बनी होती है, तो मुझे वह बहुत पसंद आती है और मैं उसे किसी भी दूसरी शैली की फिल्मों के बराबर ही सम्मान देता हूँ।

When a horror movie is well done, I love it and I put it up in esteem with any other genre.

When a horror movie is well done, I love it and I put it up in esteem with any other genre.

वरना इतिहास पूरी तरह से सपाट होकर रह जाएगा, और लोगों को यह लगने लगेगा कि सब कुछ हमेशा से उपलब्ध और सुलभ रहा है। एक बात जिसने मुझे सबसे ज्यादा प्रभावित किया, वह यह था कि अलग-अलग समय में प्रायोगिक संगीत (experimental music) का परिदृश्य अलग-अलग रूप में दिखाई देता था, इस आधार पर कि कोई भौगोलिक रूप से कहाँ है, क्या उसे लाइव परफॉर्मेंस देखने का मौका मिल रहा है, और उस खास समय में क्या रिलीज़ हुआ था।

Otherwise the history just gets completely flattened out, and people imagine that everything was always available and accessible. One of the things that struck me was the way in which the landscape of experimental music seemed different at different points in time, on the basis of where one was situated geographically, if one had access to live performances, and what was released at a particular time.

Otherwise the history just gets completely flattened out, and people imagine that everything was always available and accessible. One of the things that struck me was the way in which the landscape of experimental music seemed different at different points in time, on the basis of where one was situated geographically, if one had access to live performances, and what was released at a particular time.

यह फिल्म निर्माण की विभिन्न विधाओं, तौर-तरीकों और उसके अलग-अलग पहलुओं का एक जुनून रहा है। यह हमेशा से एक ऐसी चीज़ रही है जिसकी मैंने गहराई से चाहत रखी है, इसलिए कुछ नया और अलग करना, खुद को फिर से गढ़ना और नए लोगों के साथ काम करना सिनेमा की इस अद्भुत दुनिया में प्रवेश करने का पासपोर्ट है।

It's been an obsession of various genres, disciplines, and aspects and elements of movie-making. It's always been something that I've really aspired to, so doing something new and different, reinventing myself and working with new people is just the passport to the amazing world that is the movies.

It's been an obsession of various genres, disciplines, and aspects and elements of movie-making. It's always been something that I've really aspired to, so doing something new and different, reinventing myself and working with new people is just the passport to the amazing world that is the movies.

मेरे पास आज भी मेरा "Anarchy in the UK" 7 इंच वाला रिकॉर्ड [सेक्स पिस्टल्स का सिंगल] मौजूद है। मुझे यकीन है कि इसने हमें सोचने के लिए एक दायरा दिया और साथ ही एक ज़ोरदार धक्का भी दिया। लेकिन तब तक हम सब कई सालों से संगीत बजा रहे थे।

I still have my "Anarchy in the UK" 7" [ Sex Pistols single]. I'm sure it gave us a context to think about as well as a kind of kick in the ass. But we had all been playing for years at that point.

I still have my "Anarchy in the UK" 7" [ Sex Pistols single]. I'm sure it gave us a context to think about as well as a kind of kick in the ass. But we had all been playing for years at that point.

भले ही आप एक पियानोवादक हों, लेकिन यदि आप चैंबर संगीत (chamber music) पियानोवादक होते, तो उसकी तुलना में आपका कंसर्टो का दायरा बहुत सीमित होता है।

Even if you are a pianist, your concerto repertoire is very limited compared to what your chamber repertoire would be if you were a chamber music pianist.

Even if you are a pianist, your concerto repertoire is very limited compared to what your chamber repertoire would be if you were a chamber music pianist.