An idea comes. Scripts are organised ideas. When you read a script, it comes alive in your head. And that aliveness in the head is like seeing it and hearing it and knowing it. Or if an idea comes from outside, boom, you catch it in your brain and you see it and you hear it, and you know it. You sometimes fall in love with these things. All you do in cinema is translate those ideas. They talk to you, so you just stay true to the idea and translate it as good as you can.

Usually one of two ways. Either I see something in the world and I’m like, “I want to make that picture,” or I see a picture and I’m like, “I want to make that painting.” And then I look for a way to make it out of stuff in my world. So I guess the first process is more, like, self-explanatory; you make some sketches, take pictures. I usually make notes about color, particularly try to get one color relationship true in the sense that the distance in terms of value or temperature of those two colors is true. Not necessarily the colors themselves, but the way they relate to each other. Make notes about that. Then come back to the studio, and maybe 10% of the time I just start working on a painting. And then maybe 30% of the time I make drawings and start that way. And then the other…is from looking at a painting and seeing a question and a solution posed by someone else, and trying to pose the same question and find the same answer, or a similar answer. And my way into that is to find a subject in my surroundings that seems structurally suitable, I guess.

It’s completely spatial. I follow Graham on that a lot. I really think that painting is about space and proportions and where things go; it’s what painting is. Form, if it isn’t the right color, it is not in the right place. And you know you can actually change the relationships a lot by changing the color a little. Yesterday, something happened in my studio. I realized that new things come to you all the time when you work in art. I had forgotten that if Graham wanted to make something slightly off-white, he used violet instead of greying it, and it’s really good. So, last night I remembered that, and the painting worked out.

Thank you. Yeah, I don’t write collections. Maybe someday that will happen, but Mercury is based on the Goldberg Variations and so it’s riffing off of that and that Baroque mode of theme and variations. And it is very much structured.

It's made me a very happy man ever since.

Nothing happens because there’s not enough real activity and challenge: You’re not in contact with the experimental guys.  You don’t have to think how to answer questions from the students.  Nothing!

It was a brilliant idea: You have no responsibility to live up to what other people think you ought to accomplish.  I have no responsibility to be like they expect me to be.

the colonel said I shouldn't tell them how the neutrons work and all the details because we want to keep things separate, so just tell them what to do to keep it safe.

At Cornell, I’d work on preparing my courses, and I’d go over to the library a lot and read through the Arabian Nights and ogle the girls that would go by.  But when it came time to do some research, I couldn’t get to work.  I was a little tired; I was not interested; I couldn’t do research!  This went on for what I felt was a few years, but when I go back and calculate the timing, it couldn’t have been that long.  Perhaps nowadays I wouldn’t think it was such a long time, but then, it seemed to go on for a very long time.  I simply couldn’t get started on any problem: I remember writing one or two sentences about some problem in gamma rays and then I couldn’t go any further.  I was convinced that from the war and everything (the death of my wife) I had simply burned myself out.

Then there was Von Neumann, the great mathemati-cian. We used to go for walks on Sunday. We'd walk in the canyons, and we'd often walk with Bethe, and Von Neumann, and Bacher. It was a great pleasure. And Von Neumann gave me an interesting idea; that you don't have to be responsible for the world that you're in.