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he showed me some painting of rembrandt and said, "uc that? could you do the in modern, in today? and i said i will try. yes, but it is part of the job. so i tried. i worked with a dutch artistic director, and i get to work with him. he was very specific and fabulous man. also, they were very specific about the color. in reality, they asked me because the color is a little like in the spirit. it is something in common. i was flattered to do that, but it is beautiful to see how much they are -- our work, our demand is to make a beautiful movie. i should not be able to do anything. i never thought about it, but when people ask me, you have to be so clever. >> tom ford made a movie, so why not you? >> because my brain is not that sure. you have to think about so many things. truly, it is a big work. you have to be strong. you have to take care also of the physiology of the actor which is, like, oh, my god. you can be depressed. also, you see the depression of everybody. i do not want it. i have enough of my own. >> i hope you will be sharp enough to answer the questions the audience

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he showed me some painting of rembrandt and said, "uc that? could you do the in modern, in today? and i said i will try. yes, but it is part of the job. so i tried.

he showed me some painting of rembrandt and said, "uc that? could you do the in modern, in today? and i said i will try. yes, but it is part of the job. so i tried. i worked with a dutch artistic director, and i get to work with him. he was very specific and fabulous man. also, they were very specific about the color. in reality, they asked me because the color is a little like in the spirit.

he showed me some painting of rembrandt and said, "uc that? could you do the in modern, in today? and i said i will try. yes, but it is part of the job. so i tried. i worked with a dutch artistic director, and i get to work with him. he was very specific and fabulous man.

harder it will be to say what that work of art is about, but, you know, religions, you know, take a rembrandt painting like christ crossing the sea of galilee, it's a propaganda on the heart of courage. you are supposed to look at that and remember what courage is 6789 it's complex in a work of art in terms of the qualities, but it's simple at the level of its moral, and that's a situation in which we have a hard time accepting in the modern world. how can it be simple morally and yet really complicated and noble as a work of art? we expect, you know, that's not going to be the case. >> host: although secular artists did it. >> guest: yes, yes, i mean, absolutely. you see some artist, and the greatest artists, i think, absolutely have that. the problem we have, at least, not the artists, it's the systems in which they operate. take mark rosco, fascinating artist, impulses, and i remember going to see his paintings at the gallery in london, and i wondered if what it was for. it was powerful. i looked at the caption, and still didn't know what it was about. i read books, never got the sense, an

religions -- jacob rembrandt painting that christ's cross the sea of galilee. as a piece of propaganda. if the propaganda on the part on behalf of courage. you're supposed to look at that and remember what courage is. it's very complex as a work of art in terms of its type of formal qualities, but it's very simple at the level of its moral. and that is a situation we have a hard time accepting. how can something be simple morality and yet really complicated and noble is a work of art? we expect that it's not going to be the case. >> host: on the second artist -- >> guest: you see the greatest artists absolutely have to. i think the problem is not the artists. it's the system in which they operate. take mark rothko. fascinating artists, very taken decomposes. i remember going to see rothko's paintings and mundane as a teenager, thinking about what this is about and what it's for. i can sense a powerful new. and the caption that said mark rothko born in, died in. did know what it was all about. read some books on him. years and years later that interview. the int

take a rembrandt painting my cries crossing the sea of galilee. it's a piece of propaganda. it's a very simple piece of propaganda on the part of courage. this was to look at that and remember what courage is. it's very complex and the work of art in terms of its technical formal qualities, but it's very simple at the level of its moral and that's a situation where a hard time excepting in the modern world. how: the he simple morally and really complicated and noble is a work of art? we expect that is not going to be the case. >> host: i'm a secular artist? >> guest: absolutely you see the creators artists have it. ii think the problem with this not the artist, it's a system in which they operate. take the very didactic impulses. i remember seeing ross goes paintings at the gallery in london as a teenager and wondered what was it was about. i can sense the mood and it's powerful. at the caption that said mark rothko, were named, died in. didn't know it was about. it's a book signing and then years come years later in the interview that said what he tried to do with your? he

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