Quotes About Creativity

I love the Velvet Underground, bro.

The only time I think I've ever gotten sick of playing Guns and Roses songs really was during - after having played them in Guns and Roses, and then in Snakepit, and then playing 'It's So Easy' and 'Brownstone' in Velvet Revolver.

I always write back to people who are kind enough to write to me. Actually, I don't write - I recline on my red velvet sofa with my feet on the coffee table and dictate the letters to my eldest son.

My great-grandmother was in one of the first girl bands, in the 1920s. Their outfits were mental: velvet bloomers with big ribbons and headpieces. They were brilliant.

When we learned to play in bands, what we were covering was equal part the Velvet Underground and the Grateful Dead. That would defy the logic that somehow these things don't fit in the same musical well.

As a songwriter, oddly enough, my influences were people like Bob Dylan, The Velvet Underground, and Buddy Holly. Some psychedelic stuff, too.

If they were starting their careers today, Rockwell and Picasso would probably both be painting on black velvet.

I do a cover of a Velvet Underground song, and they were one of the most important bands, for me.

When I was very little, I was into Michael Jackson. At six or seven, it was Madonna, but she's not what she used to be. I've been into everything from Edith Piaf to Joe Strummer to the Velvet Underground to Suicide to A Tribe Called Quest to African music.

Sometimes I think I'd be perfectly happy to go on rewriting 'Tipping the Velvet' forever because it was so much fun.

Half of my closet is Barbie clothes - PVC skirts, cropped fuzzy sweaters, and velvet minis.

My favorite model of success is when people say, 'Nobody bought that first Velvet Underground album, but everyone who did started a band.'

Films like 'Velvet Goldmine' are an accumulation of research and references. I create an almost random resource of connections and am constantly distilling that into narrative specifics.

I would be happy to produce groups, like John Cale - he was in the Velvet Underground, and then he went on to produce these bands.

If you make a strange, eccentric record - like the Velvet Underground's 'White Light/White Heat' - it takes on its own mood because it's less about a shrewd marketing plan; it's more about an individual emotion.

I had three older sisters whose record collections I borrowed, so I was listening to The Velvet Underground as well as Bach and brass band music.

I don't think I'll ever be able to fully explain the way that the Velvet Underground's records opened a door in my head. But it has something to do with Lou Reed as a mythic figure: a person who fitted no category, who defied limits and trends and definitions.

When I was four I joined a group of girls who were talking about their party dresses. I thought they were imagining, so I imagined a fantastic pink velvet dress with lots of jewels. But they were simply describing what they actually wore, and they had utter contempt for my obvious fiction. After that, I never joined a group again.

The reason I went ahead with making the music for 'Bombay Velvet' was because I loved the script.

I wish I could write 'Taxi Driver,' or 'Blue Velvet,' something brave, audacious, dramatic and dark. I don't know if I have the darkness in my own soul to be able to tap into it, unfortunately.

Talking about theater, actually, I built a little barn in upstate New York, and I call it 'the smallest theater in the world,' but it has a mini stage and a red velvet curtain.

Our Trolls are like gummy bears that have been flocked in velvet, and it's a world made of fiber art... carpeted floors, houses made of hair - even fire is made of hair.

If you asked me to sing a modern song, I wouldn't be able to - I can't easily slip into that groove. But if it were a song by Nico or The Velvet Underground, fine.

'You Talk' was originally a copy of a certain Velvet Underground song.