Quotes About Artistic

There's some beautiful filmmaking on television. I'm getting a lot of my artistic sustenance from what's happening there.

Mainstream Mumbai movies are my bread and butter, but films like 'Brick Lane' and 'Road, Movie' provide sustenance to my creative soul.

The film director, in many instances, has to swallow somebody else's decision about the final form of something. It's so hard as to be intolerable.

I have been enlightened. I have fallen into poetry and it has swallowed me up.

I've done a lot of comedy recently, so I would really like to explore something else. I am hankering after a really meaty, dramatic role... like Natalie Portman's part in Black Swan.'

Being invited to score for 'Black Swan' was a real honour. To have my work form part of such an amazing film is something I am very proud of.

I dread to be compared to all these directors who have a lot of spontaneous emoting and swearing in their films - that is death; it's a cul-de-sac. It doesn't lift the material at all. It's just a cliched reproduction of what we think is normal behaviour.

I don't write well when I'm sitting there sweating about every single phrase.

I just feel my body clock is different when it comes to making films than other directors. Being on set, and sweating, that feeling eases me more than actually when the movie's over; being on set, moving around, to me feels more relaxing than being done with the movie.

Animation is incredibly difficult - much like doing a giant sweeping fantasy novel.

There's this label called Neurotica by these sweet girls that have given me some lovely things to wear, and we might collaborate on making a little piece. They're really lovely, and I think they've been quite inspired by me in turn.

I'm a control freak, and anytime I direct something, I try to make it as homemade and handmade as possible. I feel like that's my favorite type of filmmaking, where you can see the seams, and it doesn't feel like a swiftly produced, whole seeky-eyed event.

I love Adult Swim. They give you so much artistic freedom.

Maybe I don't ever fully switch off, but I think the way I offset that is by splitting my time between film and music. I always want to challenge myself and grow, fail, self-flagellate, and then try again.

There's some freedom that you get with indie films that you don't get with the big-budget ones. There's just a different style. I hope I can switch back and forth for the rest of my career, but I've kind of grown up on indies, and there's nothing better than working with these directors so closely and and being such a huge part of the process.

The great thing about coming to Melbourne is that people talk about Sydney being the food capital but Melbourne is a lot more; it has that residential feel, a feeling of homeliness. When you go to restaurants, it's known as a creative, artistic city. That's what you get with the food.

I feel the symbolic world is the nub of a problem for an artist.

Studio D has a lot of symbolism for me.

I remember when I was in film school. It was my second year, and some kid did - had this really over-religious symbolism; like, it said 'John 3:16' and had angels falling over, and it was just this insane - it wasn't that great.

Barton Fink is just too self-important as an artist to get much sympathy.

I don't see myself necessarily having a burning desire to write a symphony.

I struggled with the pressure of having the successful record after the first record. Second album syndrome. I'm living proof; it's very real. It was like a psychological battle to be creative. I used to never feel pressure to be creative; it's always just been a fun thing. And then suddenly it's my job, and people are asking, 'Where's the record?'

My whole life, I've loved '80s synth and goth rock like The Sisters of Mercy and Depeche Mode.

I consider my music to be Progressive Synth Pop, which says nothing about what it sounds like, but does describe my basic approach.