"I've started painting much more freely, and faster. I think it's working in the theatre that did it. You know what the Glyndebourne scene-painters said about my The Magic Flute? They said they had to wear sunglasses to paint it."

“We live in an age where the artist is forgotten. He is a researcher. I see myself that way.”

“There's no doubt you smoke to calm yourself. I know I do. That's my decision about how I keep calm. I prefer that to Prozac. In fact I think it's healthier. I couldn't go to another New York party where they're all drinking water and on Prozac and telling you off for smoking.”

“Before he did all those lovely line drawings, Matisse would make really detailed charcoal drawings and tear them up. He wouldn't leave them about, he thought of them as working drawings. I understand what he was doing: discovering what's there. And then when you come to use line, if you know what you're looking at, it's much easier to make the line meaningful, to find a linear solution to what you want to depict.”

“I can get excitement watching rain on a puddle. And then I paint it. Now, I admit, there are not too many people who would find that exciting. But I would. And I want life thrilling and rich. And it is. I make sure it is.”

“He hardly ever left Bradford. He was a member of CND and a socialist with a rather romantic and naive idea of what Soviet Russia was like, all cornfields and ballet. He would have gone mad for email because he was always sending letters to world leaders — Eisenhower, Mao, Stalin — telling them what was what. I think he imagined the Politburo would hold up his letter and say, "Hold everything, Kenneth Hockney has written again!”

“Television is becoming a collage — there are so many channels that you move through them making a collage yourself. In that sense, everyone sees something a bit different.”