Quotes About Artistic

The tremendous world I have in my head. But how free myself and free it without being torn to pieces. And a thousand times rather be torn to pieces than retain it in me or bury it.

If I'm lucky, in my wildest dreams I can make a picture every three years.

The cows in Stella Gibbons's immortal 'Cold Comfort Farm' are named Graceless, Aimless, Feckless and Pointless, and that more or less is the verdict on 'Ocean's Kingdom,' the wildly hyped and wildly uninteresting collaboration between Peter Martins and Paul McCartney.

A lot of poets too live on the margins of social acceptance, they certainly aren't in it for the money. William Blake - only his first book was legitimately published.

I was influenced by people like David Fincher and William Friedkin, and these directors who kinda paint their films with these dark shades.

I grew up falling in love with music videos and those images: Hype Williams and Mark Romanek, David Fincher and Diane Martel and Paul Hunter, just from the video side. I grew up also watching a lot of independent films and foreign films.

And, I'd never done Tennessee Williams, and I had done Broadway musicals, so it was a challenge.

I love Tennessee Williams pieces; they are so poetic and I love period pieces.

Art is basically made by dissatisfied people who are willing to find some means to relieve the dissatisfaction.

Shoot a few scenes out of focus. I want to win the foreign film award.

I couldn't imagine screaming 'Action!' on an outdoor set over a wind machine or whatever.

I realized if I'm not really making an album, I don't have to be concerned about things like stylistic consistency, pacing, a coherent mood. All that stuff goes out the window.

I always thought it would be a great thing to do an art carwash. So you can actually go and get your car washed, but while you're sitting around waiting you can walk in that hallway where you look at the cars going through the window, and that could be changing exhibitions.

Composing is like driving down a foggy road toward a house. Slowly you see more details of the house-the color of the slates and bricks, the shape of the windows. The notes are the bricks and the mortar of the house.

Despite the fact the studio looks out of five windows onto a picture perfect view of sky, hills and wide open spaces, I work with my blinds firmly drawn, daylight filtered through their white canvas, a painterly northern light falling through two big skylights above my table, and nothing visible outside to distract me.

If something comes up I might write about it, but without an outlet the whole thing winds down.

I started directing chamber orchestras, then adding bigger pieces, adding winds, adding small symphonies. I've always loved chamber music, and I've done a lot.

Neither of my parents are involved in theater or acting, but they are very artistic. My mom is a painter; she's an artist. She went to school for fashion illustration. My father is into collecting antiques and fine wine, so they're both really creative people.

As a screen composer or film-music writer, I need something that I can work with in the body of the score. Like 'Charade,' 'Moon River,' 'Wine and Roses,' 'Dear Heart' - they were all just themes that grew out of the picture.

The blues is something separate from what I do. They connect at certain spots, but blues is different. I wouldn't put it in with what my career has been. That would be a whole separate wing.

I have no artistic training - as you might have guessed from all the stick figures! - and there are a few things I have a really hard time drawing. I think the one that comes up the most is airplanes. Big airliners have such a weird wing shape, and I always have to redraw them 20 times before they're even recognizable.

It seems like on every record we have this big, epic thing like 'Rosetta,' 'Wings For Marie' or 'Lateralus.'

Democracy in the studio is overrated. What you wind up getting is compromise on everybody's part, which means that nobody has their way, and that means nobody wins, including the fans.

It really was an amazing thing when Midlake brought me down to Texas and created an atmosphere in which I felt really safe and was able to do whatever I wanted artistically.