Quotes About Artistic

Liberty is the possibility of doubting, of making a mistake,... of searching and experimenting,... of saying No to any authority — literary, artistic, philosophical, religious, social, and even political.

Too many pieces of music finish too long after the end.

That's why I like fast film. It gives you more freedom to light more naturally.

It was raining a motherfucker. It was raining a Dostoyevsky novel. It was raining a Kurosawa film. It was raining a Trout Mask Repilca.

She live on purpose -- like she used every color in the crayon box. The big box, too, with the built-in sharpener.

She lived on purpose -- like she used every color in the crayon box. The big box, too, with the built-in sharpener.

There is no more somber enemy of good art than the pram in the hall.

The creative act of the artist lifts him above himself by demanding full surrender. No one puts words on paper or paint on canvas, doubting. If one doubts, one does so five minutes later...

I played Jonathan Livingston Seagull in a musical version of 'Jonathan Livingston Seagull' in Austin, TX. It was pretty special.

A film adaptation is, I hope, the director's version. A new creation.

I'm a big believer in puking out all your thoughts in a single sitting and getting some version of the work down, because the alternative just prolongs the agony. The first draft is hideous and ajskdlkdfksjdfslfjk, but it's just a map for where the big blocks go.

The only obligation you have as a film-maker is to tell your version of the truth and to use your film to illuminate reality. Whatever that means.

I wrote a play once called 'Lobby Hero,' which I thought turned out very well, but there's no final version of it. I published the one we produced, but there are seven other versions with different variations sitting in my desk at home.

I started posting initially because I just wanted to get my voice heard. I sang cover versions of show tunes and got such nice feedback that I began singing songs I had written.

In France, if you have any sort of talent, you'd better keep it here. And if you're going to go abroad, it had better not be America. The old battle - American versus Frog cinema. It's ridiculous.

I'd rather do 'She's So Lovely' that John Cassavetes wrote versus doing 'Batman.'

I was a young boy when I met the Surrealists and the Dadaists. I admired them, and that is what they taught me: to admire. Admiration is very important. People who are unable to admire others lose an important part of their soul. My soul developed from a very early age through encounters with admired people.

I write in a very strange way. Things are very fragmentary for a very long time, and then they come together very quickly near the end of the process.

That was certainly true the first time, when I did Body Heat, the first movie that I directed. I was looking for a vessel to tell a certain kind of story, and I was a huge fan of Film Noir, and what I liked about it was that it was so extreme in style.

My partner, Beth Alexander, and I want to produce smaller films, but commercially viable films that will enable me to make the kinds of movies I want to make.

And the music, as far as a type of music, it's still pretty viable.

I've been asking myself: 'Why put together these things - CDs, albums?' The answer I came up with is, well, sometimes it's artistically viable. It's not just a random collection of songs. Sometimes the songs have a common thread, even if it's not obvious or even conscious on the artists' part.

I definitely strive towards something I think of as a hallucination of music. That's always been the OPN vibe. I think of it as mostly a felt thing, and a koan of feeling that is shared between me and OPN fans. We know what it is when it gets there.

When you are making an album, it is about the purpose - you are creating both a concept and vibe, then you follow through with that.