Happiness is not found in serenity, tranquility or surrealism. It is found in harmony of thoughts, actions, and reality.

Surrealism was necessary - essential, even - in the 1920s to bridge the gap between rationalism and the subconscious. It started something important. But by the early '60s, it had become petit-bourgeois; it was too intellectual and romantic, and had ground to a halt. It had become respectable.

I know the new comedy god is surrealism, but it doesn't touch my heart.

I love surrealism.

The end of the surrealism movement was so political, so artistically pure.

When I was an adolescent, I abandoned my country at 23 years to come to Paris to know Andre Breton, the 'Pope of Surrealism.' And for three years, I was there working with him being a surrealist.

My cartoon strips in college strived to have the Schulzian mix of surrealism and Charlie Brown angst. A bit of that combo shows up in 'Up.'

As far as the style, I was fascinated by surrealism.

Dali was the great painter then and surrealism was a way of life.

We are proud of our ridiculousness. That's what made our Surrealism. Proud and ashamed of everything at the same time. I think that's my definition of Belgium.

I've always enjoyed feeling a connection to the avant-garde, such as Dada and surrealism and pop art. The only thing the artist can do is be honest with themselves and make the art they want to make. That's what I've always done.

Surrealism had a great effect on me because then I realised that the imagery in my mind wasn't insanity. Surrealism to me is reality.

With 'Enter the Void,' I didn't know you could go to this place of surrealism in a movie. I felt sick when I watched it. It really stuck with me.

The type of work I do, which is often called 'Pop Surrealism,' is very separate from Gagosian and Mary Boone type of gallery art.

Surrealism - in particular with Salvador Dali - was all about ego. It was all about extreme individualism.

For me, surrealism is in my blood; it's not an effort.

The overintellectualization of surrealism can be a bromide. A dream interpreted is a deflated dream.

The Pirate is surrealism and so, in a curious way, is Father of the Bride.

But surrealism is present in most of my pictures.

Instead of stubbornly attempting to use surrealism for purposes of subversion, it is necessary to try to make of surrealism something as solid, complete and classic as the works of museums.