I've spent so much of my life examining the smallest details. In some ways, it's where I feel most at home. For me, it's super-important to understand all of the different nuances of light and shade. But if you can't paint in primary colours, no one's going to listen to your songs, because they need to feel like something.

When 9/11 hit, the second thing I said to myself was, 'This really is what religious people do.' Those people flying the plane were very good, very pious, truly faithful believers. There's no other way to paint them. Of course, they are extremists by definition, but they certainly aren't going against Islam in any real way.

Kyrie, he's got a big personality. He's one of these guys that's misunderstood. The way that he's construed in the media is probably going to paint him in a light that is not necessarily true. I'd say you could ask a lot of people that played with him and they'd all say that he's a great teammate and a good guy to be around.

I do mostly Southern landscapes. I do beautiful old barns that are falling down, and beautiful trees reflecting in the water. My lovely wife Dorothy and I travel quite a bit, so I take pictures of different things that inspire me to come home, when I come home here in North Carolina, into my art studio and paint these things.

Well, painting is the one thing I do, that is just me. It's me and easels, and the pencils. And as long as I don't drool too much over the canvas, the colors come out pretty good. And it's a chance to express all that I've got inside, that I sometimes keep hidden. And I think that's why I paint big broad, wide open landscapes.

It's no secret that the environmental movement is ultimately designed to create new inroads into increased government control. All of the shots taken at emissions, the dependence on fossil fuels, and noise pollution are designed to paint those things as symptoms of a problem, with the government able to step in as the solution.

For nearly three years, President Obama devoted a great deal of effort to finding compromises with Congressional Republicans. That was futile, in my view, since those Republicans had made it clear from the day he was inaugurated in 2009 that their plan was to oppose everything he wanted and then paint him as a failed president.

A novel is 400 pages; it's an endurance race. There's no artist, so I have to describe everything. It's all prose. Whereas with comics, I can rely on the artist. It's really wonderful to have that collaboration and to not always feel the burden of describing everything myself and also just to have someone who can paint the world.

I found that gloss paint suited me entirely, and its qualities still intrigue me. It's viscous and fluid and feels like a pool. It's highly reflective, which means there are layers of looking. You look at the picture, and you look at the surface, then you look at the reflection in the surface behind you, then you look at yourself.

At the earliest age, when I saw a 'wet paint' sign, I had to touch the paint to see if it was wet. When I get stopped at the stoplight in the middle of the night, and there's just no cars coming, and the light is red, I go. I don't think I'm putting anyone in harm's way, and I'll just take the consequences. Because I'm a Libertarian.

I'm a lifelong movie addict, and one of my favorite projects is making replica props and costumes. Nearly every one of these - from R2D2 to Hellboy's revolver - ends with the paint job. And it's not just cosmetic. The paint literally tells a story: what this thing is made of, where it's been, what it's been used for, and for how long.

I have always been a fan of Salvador Dali, but Amrita Sher-Gil, who was an Indian-Hungarian painter, is another favourite. She was painting Indian women, and, growing up here, I'd never seen anyone paint Indian women, so that was really incredible to see a painting of someone who looks like you. I think that has a lot of impact on you.

I'm in a really nice position because I can be selective with the modeling jobs that I do and just work with brands I'm passionate about. The two worlds balance out nicely for me because modeling is so social - it has travel, you meet people, it's extroverted. Whereas painting is very solitary - when I paint, I'm kind of in my own world.

The more you travel, the better you get at it. It sounds silly, but with experience you learn how to pack the right way. I remember one of my first trips abroad, travelling around Europe by rail, fresh out of high school. I brought all these books with me and a paint set. I really had too much stuff, so I've learnt to be more economical.

I've always thought of the process of creating ballets as being this kind of team effort. It's not like being a painter, where you have your paint, and you have canvas, and you just go at it. I'm working with these living, breathing, functioning human beings, and they have their own thoughts and ideas about what works well movement-wise.

I've just finished my 20th book this past year and I'm working on my 21st book about the Middle East right now that I'll finish this year. And I get up early in the morning and when I get tired of the computer and tired of doing research, I walk 20 steps out to my woodshop and I either build furniture or paint paintings. I'm an artist too.

In interior decorating, the pig's actually quite there. It's used in paint for the texture, but also for the glossiness. In sandpaper, bone glue is actually the glue between the sand and the paper. And then in paintbrushes, hairs are used because, apparently, they're very suitable for making paintbrushes because of their hard-wearing nature.

I think people in Botswana are pleased that my books paint a positive picture of their lives and portray the country as being very special. They've made a great success of their country, and the people are fed up with the constant reporting of only the problems and poverty of the continent. They welcome something which puts the positive side.

If I should have a daughter, instead of 'Mom,' she's gonna call me 'Point B,' because that way she knows that no matter what happens, at least she can always find her way to me. And I'm going to paint solar systems on the backs of her hands so she has to learn the entire universe before she can say, 'Oh, I know that like the back of my hand.'

I don't care what business it is. I have the greatest respect in the world for that guy that can take an engine apart of a car and put it back together, or the house painter that can paint a perfect line, or the cameraman who can shoot the best shot. We're all talented in our own ways - just some of us make more money than others. That's all.

For me, in trying to talk about something like policing, it's such a huge issue, and it's an issue that's very local and very personalized to communities, to cities, to legislators, and so, in that way, I think as we started looking into talking about policing, the thing that you realize is that you can't paint everything with the same brush.

Camera lies all the time. It's all it does is lie, because when you choose this moment instead of this moment, when you... the moment you've made a choice, you're lying about something larger. 'Lying' is an ugly word. I don't mean lying. But any artist picks and chooses what they want to paint or write about or say. Photographers are the same.

I feel that I am much freer if I'm on my own, but I'm sure that there are a lot of painters who would perhaps be even more inventive if they had people round them... I find that if I am on my own I can allow the paint to dictate to me. So the images that I'm putting down on the canvas dictate the thing to me and it gradually builds up and comes along.

I'm not going to be like, "I gotta get this idea out of my head." It's like, "OK, here's a clean slate, and I've got all these paints, and all these brushes, and this is what I'm going to do with it." It reveals itself, and you take a step back and say, "What's happening here? Where are we going? What does this mean? Do I need to break it open? Does it need to just be what it is? Should it end now?"

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