Quotes About Artistic

I grew up loving Ridley Scott and Tony Scott and Michael Bay and Adrian Lyne.

I carry too much baggage... the baggage of David Lean, Satyajit Ray, Shyam Benegal.

All directors are control freaks and very obsessive. I get the feeling that directors as kids, they all have had a childhood with not too much contact with other kids. They constructed their own reality and they continue to do it. It's a funny breed, directors.

I'm always oscillating between if I should sprinkle more gunpowder or less. But if I put too much gunpowder, there may be holes throughout the silk. If not enough, the power and energy would not be shown.

I just don't feel like composing music for films because I find there is too much pretense in the industry and creativity has been replaced by the sole thought of making money.

Every record I've ever done with Tool has been on tape.

Fame was never something I was seeking in my artistic journey. It's to be used as a tool for an artist to break open doors and keep creating. That's how I enjoyed fame in '74; it was not just for the emptiness of being famous.

The moment of creative impulse is what an artist gives you. You look at a Pollock, and it can't give you the tools to do a painting like that yourself, but in doing the work, Pollock shares with you the moment of creative impulse that drove him to do that work.

I think filmmakers in general are, as the tools become more and more advanced, you're able to tell stories in a way that I think is more realistic. The technology just wasn't there up until pretty recently, and it takes a bit of time for the normal artistic way of approaching something to become a mainstream thing.

My mom was a folk singer and Celtic harpist. My dad was in a barbershop quartet and my great grandma was an opera singer. As I grew up, I discovered pop music and Top 40 radio, but it was in the '90s, so music was very different then - it was really lyrical.

When I was on Broadway, my most recent Broadway show was 'Spring Awakening,' and every night I did a topless scene.

In Torch Song, I did that character almost non-stop from 1978 until I made the movie in 1987. Then I had some failure, which also colors how you react to doing other things.

I subscribe to the myth that an artist's creativity comes from torment. Once that's fixed, what do you draw on?

The success of Torn was a bit too much for me. I took a year off and was still scared to start the second album.

Shooting the 'Torn' music video was a dream come true.

My life is a glorious tornado of musical projects!

When I think of myself, I think of Toronto. My music would never sound the way it does if it weren't for Toronto.

Like, the idea that I had to spend the rest of my life behind a desk and not be able to express myself the way I wanted to express myself. To me, that is torture. I mean if people out there that do love that then more love to them, but it just wasn't for me.

I am very lucky that I get to go to work and laugh all day for my day job, and then go home and torture my artistic self.

I was hired because I am Zsa Zsa Gabor, but when I go to work, directors try to force their methods on me. John Huston's intense, precise directions tortured me.

I'm not that kind of Bob Dylan, tortured creative.

When you're working in service to a big project, there's always the question of, 'Is there total freedom to do what I think is right artistically, or is this a job?' It's okay for things to be a job. I'm perfectly comfortable working. I don't need to sit around and quench whatever personal artistic thirst I have at all times.

When we were making KONG, I went into the sound room and made an aria of horror sounds. I was in charge of it; there was no one there to listen to me. I was totally in charge of what I wanted to do.

I don't make the best movies in the world, but at times, I do feel like I'm adding something to the cinematic community.