Quotes About Artistry

I'm not saying that every song has to be an all-time hit or the greatest ever music. That's not what you should set out to do. But you have to find out what will work best for a particular story or theme or backdrop, and discuss how not to make it a cliche or fall into such traps.

In my journey as a cartoonist, I seem to have accidentally stumbled into all sorts of traps, damnations and blacklists.

A lot of my fans want easily digestible music, which I'm not really prepared to give anyone, ever. That's just trash. That's boring.

Some stuff I don't even put out. I'll just be home, happy, creating something for myself, and then ball it up and throw it in the trash. It's less about trying to prove something or get on somebody's list or make a fan happy or make a hater mad or convert a non-believer. That's not the case for me anymore.

You hear what Thug says in his songs - the musical level of it is so crazy that it doesn't register with some people, so they call it trash. But anybody who loves music can appreciate what he's doing.

It's so important, after a song is finished, to go to sleep and listen to the song with fresh ears the next day. It's sometimes a traumatic event. And playing it for someone else for the first time - that is the most nerve-wracking thing of all. But we learn so much.

I've got a real sense of three-dimensional geometry. I can look at a flat piece of fabric and know that if I put a slit in it and make some fabric travel around a square, then when you lift it up it will drape in a certain way, and I can feel how that will happen.

When I travel too much, it affects the music, and that is the most important thing. As long as I make good music, I can play shows, but if the music starts getting bad, the show offers won't come.

Sure, I could give advice; I could, say, travel the world, listen to music. But all I can really say is do something you want to do and do it well. And if you want to be a choreographer, then you have to make dances.

Each of our collections is like a movie. We write the script, and this Sicilian woman who has traveled around the world plays the lead role.

I didn't know I wanted to act until it was around 21. I had just come back to Los Angeles after two and half years of traveling and working as a dancer and singer and was looking for a new performing art to study. I started taking acting classes and fell in love.

I know who I am as an artist and I know what my sound is, but I wanted to know what I could do in order to take it to that next level. So the experiences I had last year of moving to California and traveling to places like Rome and Nicaragua where I met a lot of people just had a really big impact in my life.

I'm usually most inspired when I finish performing and traveling.

At the end of the day, it's not the labels buying the music: it's the people out there, and you have to be behind the music and not anyone else. You're the one representing it, you're playing it for everyone; you're doing promotion and travelling around the world.

I'd like to make something about someone who hasn't existed so that I don't have to tread so carefully and can feel a little bit more creative freedom.

Fashion designers only occasionally tread outside the realm of clothes as pure commodity. When they do, the results are often a muddled, self-conscious message.

Imagination should always be treasured, even when it's slightly off-key.

I hadn't seen that many movies that really go deep enough into the fears of playing music or the language that musicians can use to treat each other or, like, the way that you can see it dehumanize and the way that it can feel like boot camp.

Basically, I try to treat the electric guitar like an acoustic guitar. What you have to do is attack the instrument and know that your feelings aren't controlled by the controls of your guitar.

You can treat musicians like actors - you give them a roadmap but don't tell them what to do, and let their personal style or interpretation speak in the piece. And in both film and music, you create a space where people feel safe to do their best. You treat songs like scripts that can be interpreted a lot of different ways.

I treat any scene the same - dialogue, action - you're still creating something in character. It's all acting, fighting.

I've treated the waistcoat as if it were a corset, so that it becomes the first layer in the process of putting clothes on the body. There is constant motion between layering and revealing.

I want to be treated like a musician.

I have always been a person who is concerned with the dignity of jazz music and the way jazz musicians have been treated and are treated, and the fact that the music has not been given the kind of due that it deserves.