Quotes About Artistic

I just write a little bit on piano. I'm not by any stretch of the means even a good piano player. I just pick out little melodies on the piano and play.

I love playing in Fantomas, which is very strict in terms of composition.

Whenever a film doesn't follow to the letter the preset strict conventional rules of today's commercial cinema, it's considered weird.

Pop music is actually a challenging genre. Not only do you have to be artistically expressive, but you also have to do that in a very strict format. I've always liked that challenge, but it's very easy to slip into something non-creative. You just have to stay inspired all the time.

Sometimes I think that I want to do something strictly basic, really simple. Just with a few chords. But I won't have anything more than two or three sentences in my head. That kind of evaporates once I start playing and then it goes off in whatever direction.

I have a very unsatisfactory and incomplete knowledge of Brooklyn and cannot discuss specifically either what you can do here or what possibilities the city shows in an artistic way. I am not a foreigner but coming here as I do after a long stay abroad, I think things here strike me much as they strike a foreigner.

I don't have a problem with my body. I'm not just going to strip off all my clothing, but if the part calls for it and I don't think there's any way round, I'm absolutely fine.

I always wanted to write something illustrated, and the Details strip finally gave me the opportunity.

I never storyboard. I hate it. I don't understand why so many directors want to make comic strips of their films.

I've learned one general thing in filmmaking: to work with one strong idea. One strong concept that pushes you to work in a certain way artistically.

I am not strong on perfection.

I was born in Indiana and raised in Oregon and there's a strong sense of individualism, particularly in Oregon. And my mom is an artist, so there was always a lot of emphasis placed on expression.

We get asked all the time if we're getting a fifth member, and we wanted to show the world in an artistic way that, 'Hey the four of us are Fifth Harmony,' and we're stronger and better than we've ever been.

It is a hopeless endeavor to make the form and content of earlier architectural epochs usable for our time; in this, even the strongest artistic talent must fail. We see repeatedly how the outstanding builders fail to achieve an effect because their work does not serve the will of the age.

The songs I've written that are the strongest, I'm like: 'I don't know where that came from. It just kind of popped out.' You feel you can't take a whole lot of credit for it. I didn't purposefully will it into existence.

I try to make a film that's very entertaining, very funny, but also gives you something to think about. And the strongest thing I have to offer is my point of view, to get across how I see the world in hopes that it can change the way other people see the world, hopefully for the better.

Many of our greatest musicians abandoned all of their aesthetic objectives to try to become pertinent. And, at the end of the day, they never became pop stars. I counter stated that very strongly, and I continue to do that.

I see writing and acting as different parts of the same continuum. Writing is better for intense emotion. If you're very angry about something, you shouldn't present it as strongly when you're acting. But if you're really angry and writing about it, that's the best way to get it out and across.

When I've seen my operas in Europe, they have always struck me as more American than when I hear them here. I can't tell you what that phenomenon is.

That is what intrigues me; songwriting and song structure and expression.

When you produce an album, you're dealing with it theatrically. It has to have a structure, and the inner response to that is that the ear loves it.

I seem to be constantly confronted by theater professionals who are more or less annoyed by the prospect of structure.

There's a really fine line between artistic license and artistic licentiousness. And history is a lousy filmmaker. It doesn't give you all the ingredients you need. No story will quite fulfill that three-act structure.

You will find hardly any improvising on camera anywhere in my films. It's very structured, but it's all worked out from elaborate improvisations over a long period, as you know.