Quotes About Artistry

I feel like most actors just dig and dig and work and work in whatever way they do to try to do as much as they can to portray a character in the limited time they have to play it, whether it's six months or one month or one week of work, you know.

When you're playing jazz, you have to somehow overcome that feeling of being intimidated because your aim is to portray that freedom in what you're playing.

I find it quite hard to connect with the songs where I portray myself as this clumsy, adorable, love-struck man-child.

Even if I make fun of him, I try to portray him as a human being. Sometimes because he's the great Jean-Luc Godard, we see him as a concept.

I would like to portray something that would challenge the actor in me.

What we portray on the ice is really important to us, and we love getting into character and telling a story.

You have to add something of yourself to the portrayal.

I wasn't exactly sure where I wanted to take my music and how I wanted to be portrayed, and it was sort of, not done for me, but more directed.

Cause I'm a musician, I'm not really good at posing and being a model, like, modeling.

I'm still trying to discover my position on my own artwork and hopefully at this exhibition someone will come and tell me. I'm open to listening to criticism.

Since many years, I realized that I have a darker side in me, even though I still believe I'm a very positive person. But still, there is still darkness that makes me write music and create in general, and it affects everything that I do. I believe it's a beautiful darkness.

I think in 'No Burden' there was a lot of positivity on the record.

Yeah, I put out some goofy stuff. I had no idea who I was as an artist at all before 'Posse on Broadway.'

I am selfish, but that's an attribute that all artists possess.

When I make a good beat, I'm possessed. I'm not on earth!

I seem to have been possessed by a mind of my own and I did not merely want to be a pop product, but I wanted to be an artist which was always my ambition.

The music kind of possesses me when I sing. So whenever I start to sing on a show - I mean, first, I'm nervous, and then when I get into it, it's just like I feel like I'm the person who sang the song first.

You can play anyone if you're open enough. It's a form of possession. Each time you work on something, you allow yourself to be possessed by creating the environment for it. Then you allow the possession to happen - but not at the expense of your sanity or of your identity.

Jazz can be a blank canvas full of possibilities.

People don't think of cello as a rock instrument, really, and we want people to know all the possibilities that the cello can offer.

'Cabaret' was one of the first pieces of musical theater I saw that showed the possibilities of what musical theater can do.

I was obsessed with what a song was and what the possibilities of language in a song are.

I'm certainly aware of the fans. I'm always hoping that what I'm doing is something they'll like, because I do appreciate them. But, no, when I get into the studio, it's all about what I like. It's the same thing that led me to the possibility of making that first Boston album, which was to divorce myself from all other influences.

If you hear Thelonious Monk play a run that goes from the top of the piano, OK, he has opened up the Grand Canyon with that. He's the river that's carved this entire space that we call the Grand Canyon. He does that with one run. He lets you know, like, what the possibility of the sound of the piano can do.