Quotes About Artistic

Erik Erikson has commented: Potentially creative men like (Bernard) Shaw build the personal fundament of their work during a self-decreed moratorium, during which they often starve themselves, socially, erotically, and, at last but not least, nutritionally, in order to let the grosser weeds die out, and make way for the growth of their inner garden.

The urge to purge the material I come up with is, I guess, an ongoing process.

Do not write if there is no tremendous urge to do so. At the heart, there must be an inspiration or muse or one of those old-fashioned things. Else, why bore yourself, destroy other people's interest and kill trees?

Even though I know who I am, musically I'm a blank canvas. I know what colors I want to use, but I don't know what picture I want to paint yet.

To me, creative work is labor, like any other kind of labor. It's got value, and it takes your time, and it's useful to people, depending.

I'm useless at staring at a piece of white paper. But if you put a piece of white paper with a black line on it in front of me, I'll say no that black line should be red and it should go this way or that way.

I think without writing I would feel completely useless.

My favorite artist was probably Jay-Z. He's the one who inspired me to start writing music. He's a wordsmith. He's very clever. He uses a lot of similes and metaphors. He's a beast of a rapper.

My stuff is my stuff. I do it for my own reasons, using my own peculiar set of guidelines.

It's often wrong to write for specific actors because one ends up using what is least interesting about them, their mannerisms and habits. I prefer not to write for specific people.

I burned out my drawing hand by using it too much. The common word for it is writer's cramp. The fancy words for it are focal dystonia. The symptom in my case was a pinky finger that went spastic when I tried to draw.

Writing is far too hard work to say what someone else wants me to. Serving it as a craft, using it as a way of growing in my own understanding, seems to me to be a beautiful way to live. And if that product is shareable with other people, so much the better.

I think all actors have a strange quirk about them. They're different than the usual run of people. They have a way of dramatizing things.

After my schooling, I was not thrilled by the idea of treading the usual doctor-engineer line. I wanted to pursue something artistic, and I was good at drawing. The options before me were architecture, fashion, and interior designing.

Realistic non-commercial films offer you a lot more liberty as a director than a usual film.

I make notes about things I see in films that really affect me, like the ending of 'Jules and Jim.' I think about how I can utilize things in my work. And I have a team of people who keep me down to earth.

I wanted to make a film about my dad, a sort of love letter, and explain what I understood of his cinema, which was so utopian. I also wanted to give the sense of his cinema, because they have never been very big box-office, but they were very influential.

I am utterly, consummately intense, wearing sunflowers and poppies and dahlias in my buttonhole.

When I came into films, I found a vacuum in the field of lyricists, writers and composers.

I grew up listening to bands like the Cure, Joy Division, Cocteau Twins, Dead Can Dance - these are the bands that I actually grew up with, and I always had these things in my taste, too. And I always loved industrial music as well: I listened to Throbbing Gristle, SPK, Cabaret Voltaire. And shoegaze bands like Slowdive and My Bloody Valentine.

When I was 17, I had my first proper girlfriend, and on Valentine's Day, I painted a canvas of her, bought her a massage, put flowers on the stairs, and ran a bath.

My mum used to tell me to never boil my cabbages twice, and I think it's artistically valid. While I do find myself on similar themes in my books, I try not to repeat myself, and that's something which is all too easy to do in series books.

I shot 'Blue Valentine' on 16mm for the past, and for the present on the Red Camera. I feel that both formats are valid. The stories should dictate the format we shoot on. Filmmakers should have a choice.

It's not in the mainstream media, but across towns, it is amazing how there are small groups of people getting together and forming artistic collectives - they may not be being overtly political, but I'd say by channelling their energy into community projects, that's a valid political statement.