Quotes About Artistic

I give up on pop music. As far as a commercial entity, as far as pop music goes, I quit; I absolutely throw in the towel. I can't handle it. I can't do it. I can't be what they need you to be.

The biggest danger of Hollywood becoming a purely corporate town resides in the creative process.

I did my New York debut at 21. It was 'On the Town' at the George Gershwin Theatre. New York is my artistic home.

That, for me, is the only real legacy: the idea that one has left a lingering trace in people's memories. In the end, that's all a director can hope to do.

When I was nine years old I use to copy - not trace - the covers of the Donald Duck comics. Many years later I became a close friend of Jack Hannah, the director of the Donald Duck film shorts.

Even though there is obviously a marked stylistic difference between the majority of our catalog and a cover like 'The Sound Of Silence,' it certainly isn't the first time we've done an acoustic track.

I'm not looking to go out there and make a rhythmic Timbaland track.

With music, you're working with a producer, and you walk out of the studio six hours later with a track that's almost completely finished. There's an almost immediate payoff.

When I made '1983,' there were a bunch of tracks that were in the early drafts that didn't make it because they just sounded like tracks for rappers, and that's not really the sound I look for when I produce my own albums.

I don't really follow genres. I have a bunch of really poppy tracks and then another super-low-fi, tape-recorded sound. It's actually really random.

I didn't really feel that there were any filler tracks on 'The Red Shoes,' but if I were to do that album now, I wouldn't make it so long.

'Tim Timtya' was different from what I usually do. I had to develop a texture to go with the song. In fact, many told me I sounded like Shreya Goshal, which came as a pleasant surprise. Transitioning from tracks like 'Sunny Sunny' to this one was quite different.

I have recorded nine tracks for a new album which I financed myself and am looking for a home for.

I've programmed myself musically to come up with love-feeling tracks that are romantic, sexy, but classy, all in one. And that's the challenge. Once I create that music, then the lyrical content starts to come - you know, the stories and things like that.

I never made beats to make beats; I only made them when there was a record to make them for. That's one of the things that has changed in hip-hop that's made me like it less. It feels much more like it's a producer-driven medium, where there are all these tracks that are completely interchangeable.

If you want to make people dance, you need to follow certain rules. Build-ups and breaks and stuff. I like to be free. On top of it all, I never really felt that I'm good at making fat-sounding dance tracks.

In terms of writing more club tracks, writing more electronically influenced - I feel like it was all electronically influenced, but now that influence has come to me in a different way.

I love exploring the hypnotic elements of music, and because of that there are very long tracks on 'Immunity.'

For every album we worked on, I brought in reels of tape of somewhere between fourteen and eighteen songs - some of them completed, with lyrics and melodies, some of them basic tracks. Things came out of those products. Like, for 'Hotel California', I think I had a reel with sixteen songs on it.

The last Simply Red album, 'Stay,' was good, but the first three tracks were designed for radio play. They were written to meet people's expectations of Simply Red.

I always shout out my dad. My artistic roots come from him. He had his own T-shirt company and taught me the trade.

I want to write a play. I'd like to do an original musical. I should probably put together a poetry collection.

I have four shelves covered with journals that I've written. Dad and I are writing songs together. I've probably written 100 songs.

I've always loved the experience of working together with other people toward an artistic goal.