Quotes About Art

I was going to be a storybook illustrator or an editorial illustrator. I ended up in a comics class by mistake because all the others were full, so I was like 'I'll stay for one class, and then I'll go take something else, because I don't care about comics.' I got pulled in really fast; I discovered I had a voice in comics that I didn't know I had.

Students were pulled aside to spend more time in art class, and I wasn't one of them.

I looked at one little print for a long time. It was called 'The Landing.' It showed men tugging on a rope, pulling a boat up onto skids out of the water. The thought occurred to me that I might paint such a picture.

To me, it's like the difference between a pen and a paintbrush. Music draws from almost the identical place as art does, which really is that intangible - it's like you're pulling from the ether. I don't know where it comes from. Nobody really does. It sort of arrives when it wants to.

I really believe that when you're playing a character that everything is contained in the script. If I'm pulling from things from my own life, then I think I'm being disingenuous to the character and the story.

My idea is to paint paintings so that when you walk into a room, I'm pulling you in, or that makes you suddenly stop and wonder: 'What is this? There is something groovy, something else going on here.' Also, I want to give you what is obvious and what is not obvious to the eye.

For me, the music of the Beatles then was serious and very, very serious art. So I couldn't take a picture of John laughing his head off or pulling funny faces because he was a serious artist, even when he was only 20.

I love taxidermy. I collect taxidermy. I'm fascinated by the art of taxidermy. But on a more artistic level, I look at taxidermy as pulling something from the wild and taming it, and posing it in a style of your own personal pleasure that will last forever, and ever, and ever.

'Pulp Fiction' is an amazing film, and I haven't made one nearly as good.

Sometimes I'm on the pulse of what's happening in Hollywood, but other times, I'm just totally absorbed by what I'm creating on the easel.

When you write, it's making a certain kind of music in your head. There's a rhythm to it, a pulse, and on the whole, I'm writing to that drum rather than the psychological process.

We just love international music. We love the climate of that sound, it's that pulse that we just have to appreciate.

Rock & roll doesn't belong on a grid. It belongs on a pulse - a natural pulse.

For me, it is OK as long as I can breathe, as long as my heart is pumping, as long as I can express myself.

I think what people call genre is just a question of orchestration. So, for instance, with Punch Brothers, you look at that band and say that's a bluegrass band, when really it's an orchestration choice.

Taekwondo, those are some major kickers right there. That's what they bring. That's all they do is the kicks. They don't have the punching and the ground but it's more of a kicking art than anything.

I really respect those guys that get $250,000 for punching up scripts, because it's an art form.

I found a great many pieces of punctuation and typography lying around dormant when I came along - and I must say I had a good time using them.

Writing a really good screenplay is not easy. It can be a very punishing form.

The intention behind 'Prone!' was to make a punk song with no instruments.

If it was the '70s, I'd be a punk artist. I was just born into hip-hop.

I was in punk bands when I was a kid, and then I would do stand-up in between bands - which wasn't any different from my singing.

I absolutely wasn't going to write a book if it was just going to be about punk.

Long before punk entered my life, I loved scary films and stories.