Quotes About Artistry

There is no reason for me to show my collection in New York, because it's not about craft and technique there.

I think the fundamental part of my technique is my vibrato.

Just because people play songs with great technique doesn't mean the records are better.

These performers that go on about their technique and craft - oh, puleeze! How boring! I don't know what 'technique' means. But I do know what experience is.

I look for dancers who have all the technique in the world. But they must be dancers who are open-minded, who are willing to forget that they know anything. They also have to be gorgeous; they must have a clear image of themselves and strong personalities.

It's not a film-maker's job to explain his technique, but to tell his story the best way he can.

I have acting technique; I have singing technique; I don't have a writing technique to fall back on.

We work so hard on our craft, and once we get out of Duke Ellington, there are not going to be people looking for technique. I worry about that a lot.

Sometimes I just rely on technique on stage, but it's not about technique. It's about how much you want to deliver the message to the audience. That's all.

We work so hard as young artists to further our careers or improve our technique, sometimes it gets so easy to not actually go and see things like a play or a film. I think the best way to get better is to see other actors do what they do well.

I enjoy finding a low subject and bringing it up high. I think with strong technique, you can glamorize certain things. You can make the imagery sharper, rounder, and basically better looking.

I don't push my voice; I try to keep a good technique, a natural way of singing, to sing from the breath, which is the main thing.

You shouldn't think about technique when you play. You have to be you. It cannot be about, 'I can play this, and I can show you that.'

If you're going to play bass, then play bass how you play bass. You can learn technique and theory, but we want to hear what you have to offer.

The Fosse technique really does have to have a delicacy and an elegance to it.

I've started to look at guitar playing from more than just a standpoint of using certain modes and techniques.

We can use techniques in modifying things, in controlling things, but the first impulse has to be something that you simply cannot make just out of technique, or else it becomes perfectly evident that it is nothing but technique that you're exercising.

I don't think anyone has exhausted the range of sound possible in a conventional rock band, but people do become slaves to their own easiest techniques.

For months I've been working on creating techniques to reproduce Swarovski crystals in sugar using the real stones to guide me.

If you look at any 15 pieces of mine, nobody does a piece like them. Totally new techniques. All the jugglers are stealing from me and claiming that they've done it.

I want my films to be different, to use different techniques, not just make a calling card film.

Usually, when people think of marquetry, they think of Dutch 17th-century furniture with inlaid flowers and jugs. Our goal is to break down the barriers between old and new, to combine traditional marquetry techniques with a modern idiom.

My audiences are generally mixed. Some people like techno, others are into the pop music, and others enjoy my film music.

Ideally, the music composed these days should sound much better because of the technology, right? But that's not the fact. The sounds that you hear out of technological recording are programmed sounds coming out of a computer.