Quotes About Artistic

Inside, I've got a real purist desire and dream about the music. I like the idea of being able to carve out a kind of magical, colourful, artistic, inspirational life. And the reality just turns out to be quite different, working with the business to bring this thing you have created into the world.

I feel that working with the camera and editing it is actually my strong suit.

Working on 'Nightmare Before Christmas,' I had endless arguments, like the studio saying, 'You can't have a main character that's got no eyeballs!' 'How is anybody going to feel for somebody with just eyesockets?' You know? So, it's those kind of things that really wear you down.

The Holy Ghost was working through me on this film, and I was just direction traffic.

Within two weeks of working with her, I realized how good she was for the role because she was absolutely with it and she has got terrific instincts, I think, as an artist, too.

I've always found music inspired me in the studio to try to do new things. If someone comes out with a new album, it's like, 'Gosh, they've been working hard - so should I.'

As a working-class actor, leaving school with no qualifications, being a printer and then becoming an actor and then working with people who to a certain extent had had a leg up. I never had that advantage. It's less an artistic need to express myself and more a need to prove myself.

I want to reveal in a simple way the usual - and unusual - life of the city; the corporation workman, the busmen, policemen, the civil servants, the theatres, Moore Street and also, what occupies so large a place in Dublin's life, the literary and artistic.

Can works be made which are not 'of art'?

I know that my works are a credit to this nation and I dare say they will endure longer than the McCarran Act.

Everything for me is visual. That's just how my head works.

Parenting advice is mostly useless because every family is uniquely its own; artistic advice is mostly useless because every artist works in their own way. Thus, figuring out how to balance the two has an intense specificity.

I believe a filtration process works, where you need someone to listen, before the track goes out into the world.

I think the problem I have with films is that, because there's so much hype around them, they become bigger than they should be, really. There are things that people do every day in their little workshops that they'll take to heaven with them. You've got to realise that it's not everything, making films.

We are in the midst of a momentous catastrophe of world history, of a transformation of all aspects of life and of the entire inner human being This is perhaps fortunate for the artistic person, if he is strong enough to bear the consequences, because what we need is the courage to have inner experience.

Mum is a photographer, and Dad does world music and plays almost every instrument except for drums.

Well, Smoke n' Mirrors has very much a world music flavor and it doesn't park itself in one country. It borrows heavily from the Brazilian angle, which is dear to my heart, and I recorded several albums with that flavor.

If I can be doing something in the arts till the day I die. I would be very, very happy.

Till the time I found a creative outlet, I was trying to be extra creative at business, which would always put me in a situation of conflict with other stakeholders. The moment I started writing, my creative impulses were finally channelised.

I don't want to be sitting and pondering over how many stars my film will get. It's rubbish! I make films that I like - some get really appreciated, and some don't. Till now, luckily, they have done well, but I can't become a slave to that. And I won't - never!

It is extremely empowering when you are making fundamental and critical decisions on different levels of production, till the final showcase on the screen.

I get scared of such love where people come out of the theatre and say, 'This is the best work of Anubav Sinha till date.' I feel the pressure and wonder what will I do next.

Tim Burton's 'Sleepy Hollow' has got to be the most gorgeous, sumptuous, painterly movie ever made about multiple decapitations.

Tim also has enough confidence so that it always looks like a Tim Burton film, but it really is collaborative. You're allowed to do it your way but of course he's always going to choose his way.