Quotes About Artistic

I'm not wild about hand-held shots.

I met Arcade Fire on their first record, 'Funeral.' I loved that record, and it was a record I was listening to while I wrote 'Where the Wild Things Are.' Those songs - especially 'Wake Up' and 'Neighbourhood' - there's a lot of that record that's about childhood.

Paris is wild; it's decadent... it's so many things.

There's always the temptation, as a cinematographer, to make the shot look as perfect as possible.

I have learned that as an artist, I cannot succumb to the temptation to please others.

Artistic qualities that once seemed undeniable don't seem so now. Sometimes these fluctuations are only fickleness of taste, momentary glitches in an artist's work, or an artist getting ahead of his audience (it took me ten years to catch up to Albert Oehlen). Other times, however, these problems mean there's something wrong with the art.

I was an independent musician for ten years before I became a musician for movies.

I do tend to take lines from other lines I like, and then write around them.

You tend to compose things more in the middle of frame in 3-D than you would in a conventional frame. You can really see composition in 2-D but in 3-D your composition is much more complex. Everything has to be artificially enhanced. But you do gain something else with 3-D: you have a sense of space and heightened reality.

Creative processes are always very opaque. Afterwards, you tend to pretend that everything was planned and it was a strategy, but it was not like that at all.

I tend to name albums after one of the songs.

One of the problems I have with a lot of movies these days is that everything is too well lit. In the world of digital creations there is a tendency to show too much.

Everyone in my family has some kind of artistic tendency. My great grandmother was a jewelry designer, and her daughter was a ceramic tile muralist.

Time moves too slowly for me to notice any evolution in my creative tendencies.

The films that have influenced me most are: 'The Hustler', 'Badlands', 'Hud', 'Tender Mercies', 'Cool Hand Luke', 'A Perfect World', and 'Laurence of Arabia'. I also really like 'Fletch'. I feel like all of these films reached an honest place in regard to the human condition while also stringing together really entertaining stories.

As a filmmaker, one tends to want to evolve evermore towards a place of independence.

When I discovered European filmmakers, it affected me so deeply. It redefined what cinema could be. I mean, 'Blow-Up' ends with a dead body and mimes playing tennis. What?

I wanted my voice to be a tenor sax, really.

Certainly when, you know, you put a lot of creative people together, there's ego and tension and all that stuff comes into play. But on the flip side, there's a lot of camaraderie and closeness.

If literary terms were about artistic merit and not the rules of convenience, about achievement and not safety, the term 'realism' would be an honorary one, conferred only on work that actually builds unsentimental reality on the page, that matches the complexity of life with an equally rich arrangement in language.

I get very frustrated by this term 'genre exercise.' I mean, what exactly is that? Genre is not really relevant when you are writing a song; hopefully you are doing it to explore something, to create something, and I don't agree that any of my albums are genre exercises.

I hate the terminology of 'costume' because my clothes are not costumes at all. I think they're high fashion, avant-garde, and more couture, definitely, and yes, some of my pieces are not particularly wearable, but I wouldn't say they're costumes, I'd say they're more couture.

I got a degree in architecture for the educational experience but in terms of career, everything is cinema.

For 'Paul's Boutique,' we had a lot more money and a lot more time. It was definitely more on our own terms.