Quotes About Artistry

In the late '70s, I was falling into the middle lane. I was way too country to be rock, and way too rock to be a country act.

I just remember falling in love with the old Chris Brown music, where it was, like, that real R&B, and I love the radio smashes he's put out since then, but I go back to his older music for that R&B.

Making fake biography, false history, concocting a half-imaginary existence out of the actual drama of my life is my life.

When I started acting almost 50 years ago, it wasn't about fame. It was about acting.

Creativity is not about the fame.

I trust every lead in every department. All of the teams are phenomenal artists. All I need to tell them is why to do something, not how to do something.

A lot of my pieces have involved teamwork, but hopefully they've inspired people to make things - that inspiration would be a great legacy.

If I were related to Monet, I don't know if I would be comfortable becoming an artist because it's too much, the comparison. If I wrote a book and put it out, the comparison to my great-grandfather, the comparison would be hilarious. Every critic, it would be their dream, they'd tear me apart.

When you hear my music and you feel the emotion, it's real. When you see me in a film and you see a tear, it's real.

I can't even call it work. I'm a creative-a-holic. I love the tearing into new material.

There's always room to make stuff that is completely morose and downbeat, but we'd probably spiral into a state of complete despair if our music reflected the lyrics all the time. I think that's almost the fun game with some songs, is this complete tearing of two feelings at once.

My job consists of getting on stage and tearing my chest open and letting people into parts of my life that I would prefer to keep to myself. But I also think that's what connects me with a lot of our fans.

Mr. C. Klackner has for sale four etchings etched by myself, at the expense of two years' time & hard work - 'The Life Line,' 'Peril on the Sea,' 'Eight Bells,' 'Mending Tears,' - all of which are very good and should have been put forward long ago, but C. Klackner is waiting for me to die, is my idea of the matter.

For the chorus of 'Secrets,' we used The Romantics' 'Talking in Your Sleep' and 'Pale Shelter' by Tears for Fears. It's like hip-hop: just grab it.

Anybody can build a building, putting some doors into it, but how many times have you been in a building that moves you to tears the way Beethoven's 'Eighth' does?

I recorded the song live in front of an orchestra, and yes, I was very moved, I was in tears.

I don't believe that what Tears for Fears has done, and continues to do, can be pigeonholed into a genre or decade.

I want to be the first person to animate bags - everything done for handbags bores me to tears - I want to make it more playful.

It's been a journey of great stress and awakening. I have given my blood sweat and tears to 'Padmavati.'

Tears for Fears is me and Roland.

If you listen to Tears for Fears, they had great melodies and less rigid cut-and-paste.

I want more people to know who I am and I want to have the chance to tease my music a bit more.

Sometimes I'll write without the guitar or the piano, but most of the time I'll be playing and just improvising some words. And when I get something that sounds good, a line with a story in it, I'll try and tease it out and figure out where the story is going.

I'm not one of those playwrights who says, 'Show up, hit your marks, and don't talk to me!' I always want to hear from the other artists involved, whether it's the director, the lighting tech, or the actors.