Lichtenstein, Roy Filmography

• Play in Full Screen Who Gets to Call It Art?

  2006, role: actor , character name: Himself
• Play in Full Screen How to Draw a Bunny

  2002, role: actor , character name: Himself
• Play in Full Screen U2: A Year in Pop

  1997, role: actor , character name: Himself
• Play in Full Screen Inspirations

  1997, role: actor , character name: Himself
• Play in Full Screen Roy Lichtenstein

  1991, role: actor , character name: Himself
• Play in Full Screen Art in an Age of Mass Culture

  1991, role: actor , character name: Himself
• Play in Full Screen Superstar: The Life and Times of Andy Warhol

  1990, role: actor , character name: Himself
• Play in Full Screen Driving Me Crazy

  1988, role: actor , character name: Himself
• Play in Full Screen Pablo Picasso: The Legacy of a Genius

  1981, role: actor , character name: Himself
• Play in Full Screen Roy Lichtenstein

  1975, role: actor , character name: Himself
• Play in Full Screen Warhol

  1973, role: actor
• Play in Full Screen American Art in the 1960s

  1972, role: actor , character name: Himself
• Play in Full Screen End of the Art World

  1971, role: actor , character name: Himself
• Play in Full Screen Sunset Water with Suspended Seagull

  1970, role: director
• Play in Full Screen Step: Dock Water Moving

  1970, role: director
• Play in Full Screen Lichtenstein in London

  1968, role: actor , character name: Himself
• Play in Full Screen What's Happening?

  1967, role: actor , character name: Himself
• Play in Full Screen Andy Warhol and Roy Lichtenstein

  1966, role: actor , character name: Himself
• Play in Full Screen Poem Posters

  1966, role: actor , character name: Himself

Famous quotes by Roy Lichtenstein:

"There is a relationship between cartooning and people like Mir= and Picasso which may not be understood by the cartoonist, but it definitely is related even in the early Disney."

"In America the biggest is the best"

"I don't have big anxieties. I wish I did. I'd be much more interesting."

"I like to pretend that my art has nothing to do with me."

"I don't think of form as a kind of architecture. The architecture is the result of the forming. It is the kinesthetic and visual sense of position and wholeness that puts the thing into the realm of art."

"I'm not really sure what social message my art carries, if any. And I don't really want it to carry one. I'm not interested in the subject matter to try to teach society anything, or to try to better our world in any way."

"Yes, you know sometimes, we started out thinking out how strange our painting was next to normal painting, which was anything expressionist. You forget that this has been thirty five years now and people don't look at it as if it were some kind of oddity."

"I kind of do the drawing with the painting in mind, but it's very hard to guess at a size or a color and all the colors around it and what it will really look like."

"I think we're much smarter than we were. Everybody knows that abstract art can be art, and most people know that they may not like it, even if they understand there's another purpose to it."

"You know, as you compose music, you're just off in your own world. You have no idea where reality is, so to have an idea of what people think is pretty hard."

"Art doesn't transform. It just plain forms."

"I suppose I would still prefer to sit under a tree with a picnic basket rather than under a gas pump, but signs and comic strips are interesting as subject matter."

"Personally, I feel that in my own work I wanted to look programmed or impersonal but I don't really believe I am being impersonal when I do it. And I don't think you could do this."

"Picasso's always been such a huge influence that I thought when I started the cartoon paintings that I was getting away from Picasso, and even my cartoons of Picasso were done almost to rid myself of his influence."

"But when I worked on a painting I would do it from a drawing but I would put certain things I was fairly sure I wanted in the painting, and then collage on the painting with printed dots or painted paper or something before I really committed it."

"Yeah, you know, you like it to come on like gangbusters, but you get into passages that are very interesting and subtle, and sometimes your original intent changes quite a bit."

"I don't think that I'm over his influence but they probably don't look like Picassos; Picasso himself would probably have thrown up looking at my pictures."

"I'm interested in what would normally be considered the worst aspects of commercial art. I think it's the tension between what seems to be so rigid and cliched and the fact that art really can't be this way."