Quotes About Artistry

I work on everything, whether it's a film or TV show - I wouldn't even consider 'American Gods' a TV show. I don't even know what it is.

To me, when - just like when you watch a movie or you watch a TV show, to me, you know, Nicole Kidman or Leonardo DiCaprio, you know that they are actors, but also, great actors find that extension of themselves. So, when I walk through that curtain, I find the extension of myself of being the Ravishing Russian in there.

The truth is that when writing a TV show or a film you are a part of a team. And though you might be the architect who makes the initial drawings, somewhere along the line it all has to be given up, handed over. To the costume department and the actors, the art department, the director and the producers.

Most of my songs are written about movies or TV shows - they're not about me.

Often, African-Americans' work is accepted as if we did something artistic by happenstance. It's almost like, 'They make TV shows the same way they dance. It's just natural!'

I just want people to hear the music the way it's suppose to sound, the way we meant for them to hear it. You sit in the studio all this time and make the music, tweak it, try to get it perfect. They should be able to hear it that way.

Humans are generally much trickier to draw because we're so used to looking at and analyzing human faces. The slightest tweak makes a huge difference in how we perceive that character.

I'm one of those artists who, if you'd let me tweak, would probably keep going and going, so it comes to the point where sometimes you just have to let go and make the decision, 'Okay, that's it.'

I wrote 'Despacito' with my guitar, but where you can tweak a lot is in the production.

When I make music, I often sound better singing as a woman, go figure, so I like to tweak the format and pitch and suchlike of my recorded voice. Sounds better.

And that's how I start myself. I usually go back a couple of pages, maybe to the beginning of the chapter, and I start reading. And as I'm reading, I'm tweaking - putting in a different word, changing the syntax, putting that clause over there, you know that sort of thing.

I got into the studio when I was thirteen. At the age of twelve I was doing public performances.

I was a cover artist for years. I didn't start writing songs until I was in my mid-twenties. I wrote them with John Leventhal, and they were pretty bad. I was in my late twenties when I wrote the first song with him that made any sense to me about what I was rooted in and what spoke for me as an artist. That was 'Diamond in the Rough.'

As New York careens toward the modernity of the twentieth century when Gibson girls were transforming themselves into working women, Clara Driscoll enters the male field of stained glass artistry and builds a lively, multi-national, multi-class women's department within Tiffany Studios.

If I can play one note and make you cry, then that's better than those fancy dancers playing twenty notes.

We have always tried to treat every album differently and even from day one I think that each Asia album has been approached with care and thought and hopefully that shines through twenty years later.

That's what I find with any good song, you just have to let it happen. Out of about twenty songs you might write, one of any significance. It might be thirty or forty, but I just keep churning them out and churning them out in hope that one of them will stick.

To make a film is eighteen months of your life. It's seven days a week. It's twenty hours a day.

Me and Twenty One Pilots would be wonderful.

I think people can just make things now. It's kind of what happened with the music industry. Before, a band couldn't afford to go into a nice studio, or if they were going to go into a nice studio, they had to record twenty-five songs in two days. That's not a healthy workflow for anyone.

I can't see myself singing the same song twice in a row. That's terrible.

One of my favourite Donald Byrd tracks is 'Think Twice,' and I didn't want to sample it. I've always enjoyed when other people have sampled it, so I wanted to instead of making a beat with it or something like that, or freak the beat of whatever. I wanted to just recreate it in my own way, like how I heard it.

Mark Rylance is one of my heroes. I saw 'Jerusalem' four or five times, twice in New York, twice in London.

Never try to make the same record twice, even when people are screaming for the same sound.