Quotes About Art

I didn't start out thinking that I could ever make films. I started out being a film lover, loving films, and wanting to have a job that put me close to them and close to filmmakers and close to film sets.

You can only sit on the frustration of wanting to express something for so long.

When I was growing up as a little girl and as a teenager, I loved designing and making dogs' clothes and wanting to be a fashion designer. I took art and ceramics. I loved dance.

One of the things that wrong with pictures today, I think, is that so many of the people making them started out wanting to.

I used to hate doing color. I hated transparency film. The way I did color was by not wanting to know what kind of film was in my camera.

Anybody in the next centuries wanting to know what it was like to be a poet in the middle of the 20th century should read Kaddish.

While also, importantly, not wanting to dumb it down or pretend the days of 'difficult' poetry are over, because we live in a pluralist culture and there's room for 'difficult' poetry alongside rap and everything else. And poetry won't be for everyone, but everyone should have the choice.

And I know I'm supposed to feel guilty for wanting people to buy my books... and books in general? Novels and poetry, they belong to the realm of art. How dirty of us to try to hawk art! But, after a decade of hand-wringing and apologies, I can't quite muster the guilt anymore.

Co-writing is a very unnatural feeling. It's like wanting to document a feeling that you have and then trying to get someone else to describe it for you.

I grew up wanting to be a painter and paint pictures.

I grew up wanting only to be an illustrator. I studied art at Laurel School in Cleveland and at Smith College.

When we make records, it's hard to pinpoint one thing that inspires a record. It's usually a number of different things that lead to inspiration or wanting to write something down and share it with someone.

I kept wanting to push my image as validity; I wanted to see my portrait on a wall and know it was okay.

There's the dual challenge of wanting to speak from an authentic place, and then being able to be honest about it. Even in the most mannered art, I think that's what people value, is a voice that comes from a real place.

I think most producers and MCs are constantly in this competition, but it's usually with yourself. It's usually wanting to be innovative: wanting to catch yourself when you're doing the same thing or throwing out the same art you've already done.

We get letters every day from people wanting more mountains. As many as I paint, they still say, 'Give me more mountains.'

I think the art world heightens the intensity of desires for inclusion, and the humiliations of exclusion, which is why it's a great place to circulate when you are in the lucky position, as I am, of not wanting or needing anything from anyone.

The opposite of war is not peace, it's creation.

To make a film is easy; to make a good film is war. To make a very good film is a miracle.

Cambodia is not only a country of war, but also a country of culture. It's in our DNA.

We do need sculpture. People always say: 'Well, that sculpture could have paid for a cot in a maternity ward.' But if the world had been run on those lines, there'd only be about four books, and they'd be seed-drill manuals.

With the Mongolian horse warfare, I did a lot of research into the Mongol art of war.

It's high time for the art world to admit that the avant-garde is dead. It was killed by my hero, Andy Warhol, who incorporated into his art all the gaudy commercial imagery of capitalism (like Campbell's soup cans) that most artists had stubbornly scorned.

When I played Candy Darling in 'I Shot Andy Warhol,' that was easy to play that part. They made me into a woman: I'm in heels; I'm waxed. I'm gonna find the femininity and lay on the bed and take the voice of an old movie star.