'Richard Serra' is featured as a movie character in the following productions:

Serra, Richard Filmography

• Play in Full Screen I Die Daily: The Making of Matthew Barney's 'Cremaster Cycle'

  2007, role: actor , character name: Himself
• Play in Full Screen Richard Serra: Thinking on Your Feet

  2005, role: actor , character name: Himself
• Play in Full Screen Two Men of Storm King

  2005, role: actor , character name: Himself
• Play in Full Screen Making the Modern

  2003, role: actor , character name: Himself
• Play in Full Screen Cremaster 3

  2002, role: actor , character name: Hiram Abiff
• Play in Full Screen Speaking of Abstraction: A Universal Language

  1999, role: actor , character name: Himself
• Play in Full Screen The Revenge of the Dead Indians

  1993, role: actor , character name: Himself
• Play in Full Screen Sculptors at Storm King

  1992, role: actor , character name: Richard Serra
• Play in Full Screen Masters of Modern Sculpture Part III: The New World

  1978, role: actor , character name: Himself
• Play in Full Screen Hand Catching Lead

  1968, role: actor , character name: Himself
• Play in Full Screen Hand Catching Lead

  1968, role: director

Famous quotes by Richard Serra:

"The weight doesn't seem to be a factor because you don't sense the weight. They look like big feathers or something, big blades."

"This will function not as a bell tower, but as a vertical structure that collects the buildings. It's open and people will gather and walk around."

"When I moved into making sculpture, I could handle steel the way it had been handled in the technological revolution. I could use it the way bridge builders used it; I could use it the way they used it in industry and building and not the way it had been used in art."

"I pointed out the window and said I would put a 40-foot tall piece right there. I wasn't even 30 yet."

"The piece is predicated on walking and moving, anticipation and reflection, through these various pieces and through the museum as a whole."

"The subject of the work is your experience, your walking,"

"The Matter of Time,"

"Steve's early work had a lasting effect on me. The density and the gravity of the sound was so great it prevents recollection. The power of Steve's music has to do with its sound. Tempo counts, and language is pushed to the breaking point, where the meaning of the word is obliterated and lets the music out."

"But you have to take all of those things, you have to take into consideration the paths, the roadways, how much cloud cover there is, how much foliage cover there is, whether there are streams, all of that comes into play."

"But I don't think of any particular viewer in mind other than myself."

"I think different people have different problems and different relations to the exhibition of their work."

"I think this, I think basically I'm not interested in people following my work or making work like my work."

"On the other hand, if there's an underlying core of poetry that I go to, I go to the sea. I've lived on the sea all my life. I live on the sea in Cape Breton."

"The thing about rigging is, you can learn it if you become a master rigger but there's no book on rigging."

"They've also, the government's decided now, what sexual content is."

"Work out of your work. Don't work out of anybody else's work."

"The thing about coming back to the Bay Area, it's like coming home for me."

"I thought Out of Action was better as a catalogue than the honeycomb because the honeycomb was like walking into one compartment and then another compartment."

"But what does interest me is the notion that if you do a lot of work it means there's a potential for other people to understand that a lot of things are possible with a sustained effort and that the broadening of experiences is possible and I think that's all art can be."

"I think you always have to find where the boundary is in relation to the context in order to be able to kind of articulate how you want the space to interact with the viewer."