Quotes About Artistic

I think that purity creates not only a higher level of artistic vision but a purer work ethic.

The idea of the record is that it's a statement for working with a group, of a collaborative work. That should be visible in the music.

Apparently I work for free, look at some of the independent films I've done.

I don't feel that censorship keeps me from doing the work, though. I'm my bigger censor.

When Xena finished I just really wanted to work with Shakespeare's material.

Sometimes directors will hire you and say, 'Oh, we love your work.' And then they start to tell you how to do it. I say, 'Hey, man, back off. You hired me to do it. Let me do it.'

I put a lot of work into my lyrics. Not all my stuff is meant to be scrutinized, though.

I've wanted to work with [Kairo aka Pulse director] Kiyoshi Kurosawa, but he has not been making horror movies recently.

Once you become a producer, you're really selling something. It is a control issue, because you don't really know how it's going to pan out, but the creative control makes it work it.

There's a place in Paris where I'd like to work one day. It's called the Slow Club.

I had this perfect situation where my studio was a three-minute walk away, and every day I would go to the studio. If I had an idea, I could work on it at the highest level possible.

There's already a great deal to do writing the songs. And if I were completely in control of it, nobody would be able to say "this song doesn't work."

If I work on a movie for two months, I should be able to dance on as many tables as I want to.

I could not live by literature if only to begin with, because of the slow maturing of my work and its special character.

I think that new artistic challenges help you grow both as a person, as an artist, and then they feed back into your other work, and tend to magnify it.

I began writing for theater, and maybe because of that I've always thought of myself as a theater writer who does work in film sometimes.

It's almost like I get to be more theatrical when I work in voiceover.

When you get into making movies, then the physical mundane reality of life must be presented. But in comics you can jack it up and work in shorthand.

In some ways, you could argue, television is doing far more interesting work than the movies. It's more fulfilling.

[I'm] looking for a good balance between digital and creative work.

The kind of films I want to make are struggling to get made. And if they are getting made, they're getting made on shoestring budgets with not enough time.

If I want to put on a pair of Converse with a pencil stuck through them, I will.

There's this inherent screenplay structure that everyone seems to be stuck on, this three-act thing. It doesn't really interest me. To me, it's kind of like saying, 'Well, when you do a painting, you always need to have sky here, the person here and the ground here.' Well, you don't.

Roadrunner wanted to make Born in the Flood the next Nickelback, but I didn't want to be that. I didn't want to be a huge rock star playing songs I didn't like. I didn't want to be stuck playing 'Anthem,' the song everybody liked but I didn't want to put on the record, for the next five years.