Artist Quotes - Page 328

The product of the artist has become less important than the fact of the artist. We wish to absorb this person. We wish to devour someone who has experienced the tragic. In our society this person is much more important than anything he might create.

The business side of film has goofed up so many things, but even that's changing. It happened to the music industry and now it's happening to the film studios. It's crazy what's going on. But artists should have control of their work; especially if, as I always say, you never turn down a good idea and never take a bad idea.

An artist makes a painting, and nobody bugs him or her about it. It's just you and your painting. To me, that's the way it should be with film as well.

I always say that intuition is the number one tool for an artist.

But if you have a point of view and you're an artist or a writer, it's kind of crazy to not take advantage of that, especially if you can do something that's entertaining as well. I've done a number of things like that over the years.

I just sit at the drawing board most of the time. I am used to talking to people. I love going to conventions, getting feedback and talking to people. Some artists don't. Some artists sit at their drawing board because their personality actually dictates that.

Just as Renaissance artists provided narratives for the era they lived in, so do I. I'm always looking beyond the surface. I've done that ever since I first picked up a camera.

If you watch Michael Jackson [1992] concerts from Budapest and compare it to a Madonna concert of today, you'll see such uplifting beauty and a message that you won't see in any other artist of our time.

Amy Sedaris [in the Ghost Team] plays a Miss Cleo-esque character - Miss Cleo just died, so that's kind of timely - but she plays a Miss Cleo-esque TV psychic who's also kind of a bullshit artist. One of the most triumphant character turns in the movie is when she realizes that even though she's a bullshit artist, she does have something to offer. She helps save the day at the end of the movie.

I don't know to what extent someone can BECOME an artist - you either are or you aren't - and if you are you'll HAVE to make your way to some kind of sickly light, no matter how terrible the soil you were seeded in your nature will out somehow.

We need all kinds of artists. We have no need to destroy drawing. We lose so much. This wouldn't happen in music.

There's no need to believe what an artist says. Believe what he does; that's what counts.

Comic books, if you're adapting a comic book - like X-Men, for example - you've got 40 years of amazing stories to dig into, things that incredible artists have been thinking about for decades.

Important artists are innovators whose work changes the practices of their successors.

The precision of their goals allows conceptual artists to be satisfied that they have produced one or more works that achieve a particular purpose... a problem solved can free him to pursue new goals.

There are two very different types of artists: those I call Old Masters, who work by trial and error and tend to improve with age, and conceptual people, or Young Geniuses, who generally do their best work early in their careers.

Like so many other nerdy, disaffected young people of that time, I dreamed of becoming an 'artist', i.e., somebody whose adult job was original and creative instead of tedious and dronelike.

I would say that for the younger musicians, technical proficiency is necessary and a given these days. But the study and the way you function in society, your beliefs and the way you live, that is where you will find a real musician, a real artist.

I'd really want to - just from my own experience as an artist working with a writer, I'd want to do everything I could to tailor it to the artist I was working with.

I think I'm enjoying writing for me.I know what's in my head, so there's a little less margin for error, but I think I really would like to write for an artist, and obviously it really depends on the artist, and the sort of story I would do.

The old model of the industry was founded largely upon business folk trying to make money off artists. At EMP, we let the music make the money, not the other way around. We have flipped the model to make the artistry be at the forefront of everything we do. Music makes the business and that's what makes it work.

At one time there were voiceover artists, now there are celebrity voiceover artists. It's unfortunate because these people need the money less than the voiceover artist.

I think people are intolerant of artists.

I think for anyone who follows the 'artistic life,' a certain amount of selfishness and self-involvement is part of the package. You're probably already disregarding a certain material life you could have.

Sometimes the European and North American public like some things to be exotic and kept at arm's length. They don't want sometimes to know that foreign artists are doing something that's at least as relevant as what's being done here.