Quotes About Artistic differences

I wasn't necessarily frustrated in Fall Out Boy, but there were things that didn't get satisfied, desires left wanting. We didn't all meet on the same kind of music. When bands break up, there are all these buzz words that get tossed around to maintain a front for the audience, but in this case there literally were creative differences.

I think that comics can do things movies can't and vice versa. In my opinion, you only expose their weaknesses if you try too hard at making one exactly like the other.

I had no problem with Ritchie. Ritchie and I never argued. We never had a problem. I think I was always able to write the things that he wanted - until he decided he wanted to be a pop star. And then he started doing pop music. And once he did that, that was the end for me.

'Welcome to Atlanta' was a song I wanted to do on my first album. The idea was for me and Outkast to do it, but I could never come up with a beat for us to do it. Outkast beats and my beats were very different.

There are bound to be differences in any artistic collaboration with landscape elements, or theater, of lighting elements.

Kesha and I made a lot of songs together and it was often good but there were creative differences at times.

I shot for 'Kamasutra 3D' for barely 5 days. After which, a series of irreconcilable differences had risen between the makers of the film and myself.

It's cruel to compare two actors working with two different filmmakers on two different characters.

I think The Czars had an identity crisis, as we were five guys pulling in different musical directions.

I'm surprised the two of you haven't collaborated on songs since you've been in Fleetwood Mac. You love to write words and he's a nut for melodies. I'm surprised, too. I always wanted to. It's strange. You would think he would ask me, but I think he really doesn't like my lyrics very much. They're too spacev for him. We think differently, I guess.

I'm reading Joe Eszterhas biography; it's fabulous. Every time he made a movie, he fought with the director or the producer over the ending.

No, we'll never get back together. We'll remain friends, but I see her going in a completely different direction than me musically. But she'll end up doing really well if she continues on the path she's on. Because she's doing something very original.

No, I don't go along with everything they say or do. For example, I'm probably the only one in the band who loves funky rock n' roll, trashy music and R&B. And I don't agree with some of our images either. But Don and Glenn have it covered.

I'm not signing on to direct 'Black Panther.' I think I'll just say we had different ideas about what the story would be. Marvel has a certain way of doing things, and I think they're fantastic, and a lot of people love what they do. I loved that they reached out to me.

We fought during 'The Wall,' which was an album Waters wrote, based on his family story, we clashed long before that, during the period of the Dark Side and 'Wish You Were Here.' Actually, we never got along.

There's nothing in Chinese culture that is an equivalent of the geisha. It's so different, so special to Japan.

I don't wanna talk about Teo [Macero]. He's a helluva musician, a brilliant musician, but he's just not for me, that's all. I can elaborate on it, but I don't want to do that.

There comes a point with any collaboration like that where you start having other interests creatively. I was moving in one direction musically, and as a guitar player, Mark wanted to move in another direction. That was essentially the reason we broke up.

Mars is really different, into art. Lydia Lunch is more energy. James Chance is more commercial in a different way, in funk and jazz. They were all doing original things, trying to create their own sound and music. I think they're all great.

I'm so in awe of what visual artists do and I do understand the differences of what visual artists do. I have a small art collection I hope to expand.

With Hitchcock I had little relationship. I was called to replace Bernard Herrmann, his favorite composer, in Torn Curtain, after the bitter fight between them.

These were the early warning signals of fundamental disagreements within the band. Lines were being drawn in the sand, indistinctly and involuntarily, but being drawn nonetheless. At the risk of simplifying things too far, David and Rick felt more comfortable with a purer musical solution. Roger and I were drawn towards experimenting with the balances, and making more of the non-musical elements. David always preferred a certain amount of echo, Roger preferred the sound to be much drier.