Quotes About Artistic

I grew up in the '60s, which was a creative time, so it wasn't that big of a stretch to go from a baseball bat to a guitar to a film camera.

At that time, when I started, in the '50s, cinema was very classical in its aims.

Most of the time you're writing for radio, you're writing for a label, you're writing to stick a hit, and you end up coming out with something that isn't necessarily genuine.

When I began writing, it was a cosmic thing: Inspiration! Wham! Short spurts of time when I felt out of touch with reality, temporarily insane and the result: a song!

Time and rhythm are the most important elements in music. If both aren't well conceived, organized, and executed, no amount of notes will make the piece a meaningful artistic experience.

I think if you spend much time dwelling on influence you can get self-conscious about every line you write. That's a great way to freeze up.

I'm reading Joe Eszterhas biography; it's fabulous. Every time he made a movie, he fought with the director or the producer over the ending.

I actually start drawing things. Usually they're abandoned before I commit too much time and effort.

I think people face that in any artistic field, this idea of: oh, I could do that, if I had the time.

Every time I've made a radical change it's helped me feel buoyant as an artist

Like so many other nerdy, disaffected young people of that time, I dreamed of becoming an 'artist', i.e., somebody whose adult job was original and creative instead of tedious and dronelike.

I stay up nights and fiddle with my opera designs. It's a bit obsessive. That's why I can't do it all the time.

the autobiography is at one and the same time a single element in the series of the writer's created works and an interpretation of the whole series.

For a long time I managed to think two things simultaneously, that I am actually a good playwright, and that the next time I write a play I will be revealed as someone who is no good at all.

I have a lot of ideas for art. And it is really - I don't really have time to do them all.

I'm very fond of the strictly visual cartoons I did when I was breaking in in the 1970's. Over time I migrated to a more verbal approach.

Every time I would say put a baby in every scene.

I'm not looking for artistic license with the script. I tend to arrive at a form with the script and feel that that should be for the time being what we aim for.

I don't want to do something unproductive with my time, so I decided to do something musical. So it felt good to say, 'Yeah, I'm producing.' It gave me a fresh vibe - inspiring in a different way.

Sometimes what you lose in the time it takes to let an actor do something that you don't like as a director, you gain in not shutting them down creatively by telling them their idea sucks.

Well, it's not full time - my dancers are only paid for six months of the year in two three-month blocks; but yes, it is possible we could do it in another year.

Just the type of music that was around at the same time as I was writing. Some of it was wicked, definitely. But there was just one direction which I thought could be pushed that no one was pushing.

Songwriters are expanding time rather than compressing time. My short stories tend to be old fashioned, with a beginning, middle and end.

Still, records are documents of a period of time. Most records are documents of two or three years, and I just approached it as a record I was doing over a 20-year period of time.