Quotes About Artistic

Surrealism is a bourgeois disaffection; that its militants thought it universal is only one of the signs that it is typically bourgeois.

When I write I'm never really thinking about themes or the universal.

I don't want to find myself ever locked into what people think I should think or do. In my art, and acting, I have a universal vision of things, an international vision. Bigger and broader and beyond. 'Bigger than life' is always on my mind.

Helped are those who create anything at all, for they shall relive the thrill of their own conception and realize a partnership in the creation of the Universe that keeps them responsible and cheerful.

At university, I had been obsessed with reading about the lives of Rimbaud and Baudelaire, and I was steeped in the crazy poets, and I came to view my early subjects through that prism.

I wanted to move away from Holland for my work because I felt that things would be better for me in England. But when I heard Joy Division's 'Unknown Pleasures', that pushed me towards making the move and making it real. I met them within 12 days of moving to England.

The radio has so many rules, and songs don't. You don't necessarily write to a rule book unless you're, like, just doing it professionally, which has never been my thing.

You're always going to write and draw inspiration from things that you're feeling, things that you've felt. It's kind of impossible not to unless you're writing a song and there's an exact scenario that you're trying to write a song for.

I avoided nudity unless a film couldn't be told without those scenes. If you look at my films, few of them have that element, yet nudity and male fantasies have become emblematic of my work.

I'm very sensual and very rhythm-oriented and into poetry. Women can feel that.

In some of the greatest recordings ever made, the performance is a part of the recording. Dylan's 'Rainy Day Women No. 12 and 35' is all about the esthetic of that performance. You can hear the room.

I adore Stanley Kubrick, all of his films were different, not just in subject but tonally.

I don't think the goal is, 'How big a star did you ever become?' I think the goal is, 'Were you able to express yourself?'

People think if you're a movie star, you're the boss. But first of all, I'm not a movie star, I'm in a very different place. I'm not looking to do what I want - I am looking for what we can find. It's a creative process.

If there is a good musical reason, I think it might draw more attention and sell, though it is not guaranteed. To make a record without a musical reason, you have to either be a pop star who sells automatically or just be lucky.

I want to stay below the radar and make good films. I have to be careful; I don't want my life to change. I really don't want to be a movie star.

My obsession with 'Star Wars' was an obsession with Ralph McQuarrie, as well. I loved the designs of the universe of 'Star Wars'.

Bowie's 'Hunky Dory' influenced me. 'Ziggy Stardust' influenced Johnny Ramone a lot, especially his guitar parts.

If you listen to one of my albums, you can tell I do a lot of different things. In the case of 'Vincent', I thought of his picture 'Starry Night.' It was a beautiful road-map for a song. I used a lot of imagery from that painting.

For starters, I wanted to do an acting role in a movie that had nothing to do with the music business or in which I would play a singer or a songwriter. When I act, I don't even want to be thought of as Ne-Yo.

I get a lot of independent films from people who are starting out.

I'd wanted to be a writer and when I came back to New York worked as a musician too, but I found my writing starting to get more and more referential to cinema.

But Contra la Puerta was done mostly in the opposite way, starting with sounds and melodies.

I write plays, and I have a musical that's starting to get produced now. That's what I would love to do, but it's so hard. The only reason people are reading my plays and musicals is because I'm in movies.