Best 8185 quotes in «artist quotes» category

I grew up when the whole Motown thing was huge. The charts in those days were dominated by groups more than solo artists at one point.

I grew up with all kinds of music, but my heart was particularly drawn to Country Music because of the guitar playing, the lyrics and of artists like Steve Warner and Vince Gill.

I grew up with an artist father, and my parents' friends were also mainly artists or writers, so he connects what I do with his example.

I guess I am ruthless too because that's what makes a great artist. But I also respect people, I don't go around stepping on their heads.

I guess I feel like it's a gift to meet those talented artists like George Lucas and Oliver Stone, Spike Lee and Richard Kelly. Even if it's a small role, it's a gift to be working that closely with them.

I guess I cringe, because sometimes I don't even watch my live performances back. When I edit, it's this feeling of seeing my mistakes. It's always a mixture of loving characters, but being the artist that created it and not trying to go too deep in criticizing myself.

I guess if you take yourself seriously as an artist there starts either the problem or the beauty of doing good artwork.

I guess I've always liked the idea of being an artist.

I guess something people wouldn't expect me to listen to are artists like Alicia Keys. But she is so incredibly talented. She has this huge voice and great work ethic, which I really respect in an artist. She is also very humble and gracious and devoted to her skill.

I guess I wanted to emulate the artists that my parents were listening to when I was growing up. I've always had this affinity for folk music, and music in general, for as long as I can remember. So as soon as I could start playing shows, I did. And my parents were really supportive of me the entire time.

I guess The Grudge made over $100 million, but none of them had long legs after they came out but they all opened up and found an audience. If you could make those movies for a price, which is what I want to do with Spawn, then you could have some success.

I guess you could say that I’m the luckiest girl because I got to meet my true hero. She was a precious person. She made me a better singer, a better person. She was the consummate artist and human being.

I guess what I want to say to us artists and entrepreneurs is that conventional yardsticks of success don't apply to all enterprises. Labors of love count.

I had a lot of dates but I decided to stay home and dye my eyebrows.

I had a very unusual contract. Most artists actually pay for their record dates and it comes out of their royalties. I paid for nothing.

I had a visit from an artist friend who basically said, "Your paintings are wonderful. Now stop." It did resonate with me. It hit on the percolating need for change that was already there. I got a little push. I did a group of the paintings early on that were among the best. It was sort of beginner's luck with these.

I had artists that refused to work on Chappie if they were working on a design that actually said Denel on the side of the thing. But anyway, it's the blurring of fiction and reality that was appealing and I certainly did not want them to be in the movie and not be themselves.

I had been thinking about rubber all along. Like as the novel's element, or base material. A lot of artists in the late '60s and early '70s worked with rubber and other forms that seemed like they connoted industrial detritus. Robert Morris, Eva Hesse.

I had danced with Janet Jackson and P. Diddy so I had done a bunch of hip hop. Really and truly my roots are in modern and ballet but, professionally, that's not really out there any more, unfortunately, so these artists aren't really having a lot of ballet dancers behind them so I had to learn hip hop really quick.

I had - I was pretty hell bent on getting into the cartoon business specifically as an artist from the get-go.

I had met American artists and just couldn't believe their energy. London was always such a struggle to get anything going.

I had my little teenage craziness where I wanted to be a doctor, I admit. I have to confess at one point I considered even going to school. Hopefully, I went back on the right track being an artist.

I had gone to Europe . . . to reach for a place as a serious artist, but I never doubted that I must return. I was - and am - an American.

I had my first exhibition in September, 2012. This was when I first introduced the public to my style of the incorporation of cloth in my paintings. It was well received and everyone was fascinated with the work on display. I also invited other young aspiring artist to display they work which was also well received.

I had no idea the amount of people who even knew who I was. Suddenly, they were coming up and saying, "You're my favorite artist." Very surreal. After years of trying to get work, and then coming here and being able to meet some of the fans of Array.

I had nearly finished school because I was making effort not that bad on that. But there was a law in Germany after the war. You could not make your final examination before 18, so lots of people who were late because of the way had to do it first.

I hadn't known anything else, other than being an artist, and I needed to be a person for a while, really get to know myself without that whole thing [of selling music] surrounding me.

I had no idea that I could sustain a career as an artist. But, I loved music and wanted to be in the music business.

I hadn't been a recording artist all that long when albums came on the scene, and I was one of the first singers to point the way to how varied an album's contents could be.

I had serious training of painting styles from different historical periods... But to have all this training is not enough to be an artist. You have to add a new page to history; otherwise you are not making a contribution. But making history is not easy.

I had seen "Force Majeure" and I just love that movie so much. And I really wanted to artistically give a little hello to the filmmakers, and that kind of back and forth dialogue between artists that say, "I loved your movie. I was influenced by your movie. If I didn't have this job, I wouldn't be thinking of that. Do my TV show and then one day I'll make a movie where I can play with some of the visual themes in "Force Majeure.

I had taken the photograph from afar (distance being the basic glitch in our relationship), using my Nikon and zoom lens while hiding behind a fake marble pillar. I was hiding because if he knew I'd been secretly photographing him for all these months he would think I was immature, neurotic and obsessive. I'm not. I'm an artist. Artists are always misunderstood.(Thwonk)

I had to come to terms with my failure as an artist... I had to find a way for myself.

I had the most reversed education possible. Every parent wants their son to be a businessman, respectable - me, it was the opposite. When I had an artist career my mum was like, 'Oh finally, I'm proud of you!

I had to produce a complete page - or two or three - in one day. I took a lot of pride in my work, and I hated to do a mediocre job. Evidently, some of the writers enjoyed my work best of all for that very reason.

I had to learn to do stuff only for myself, and stop thinking about pleasing some imaginary client or boss. It's a habit that many artists get into that have worked in commercial ventures.

I had thirty weeks of prep on 'Captain America.' I have a small team of qualified, supportive, creative producers who are actually helping me achieve my vision of the film. I had a dream cast headed by Chris Evans. I had the best designers, artists, sculptors, craftspeople.

I had this sense that I was part of, sort of a lineage of artists and writers through history that have had mood disorders.

I had to figure out what to make for myself as an artist. As a producer you make stuff for all kinds of different people. I was making beats for other artists but not for myself. It was kind of weird.

I had the naive, simplistic idea that producers and writers and artists of the time helped in a minuscule way to change the mind-set of America.

I had to learn, because as an artist myself, an artist owns that right to protect their interest of how they want to roll their project out. It's just important to give them that opportunity to roll it out the way they want to.

I had tried to come up with a superhero comic, but it didn't work 'cause I wasn't a superhero artist, and I left it unfinished.

I hate artists who are not of their time.

I hate categories. Hank Williams is a great artist, period. Bob Dylan is a great artist, so is Marty Robbins. They just classify these people and put them in categories so they can sell the thing easier.

I have absolutely no interest in rock and roll. I'm just being David Bowie. Mick Jagger is rock and roll. I mean, I go out and my music is roughly the format of rock and roll, I use the chord changes of rock and roll, but I don't feel I'm a rock and roll artist. I'd be a terrible rock artist, absolutely ghastly.

I hate the solo artist aspect of rock-'n'-roll. I don't have enough personality or charisma to be a solo star.

I hate this life of the fashionable world, always ordered, measured, ruled, like our music-paper. What I have always wished for, desired, and coveted, is the life of an artist, free and independent, relying only on my own resources, and accountable only to myself.

I have a great interest in Victorian musical & cabaret performances and Weimar artists so the references are there, to Cabaret and also All That Jazz and other films where, where there's a kind of (influential German playwright Bertolt) Brecht-ian approach, almost to the character standing outside of himself or, in this case, he's "self-séance-ing.

I have a feeling a lot of artists' work got lost [because of AIDS]. Howard was fortunate because his family and friends supported him, but a chilling thing I remember was these guys at St. Vincent's [Hospital] who would call out for someone to listen to them, just for a moment. They were dying alone. Who knows what happened to their work? It's been a process to follow the thread to find out everything Howard did. It's getting over that shock.

I have a general feeling that writers and artists who are in this peculiar situation, of being a persecuted artist, all anyone ever asks about is the persecution. It may well be that's the last thing in the world they want to talk about. There were many years in which every journalist in the world wanted to talk to me, but nobody wanted to talk to me about my work. That felt deeply frustrating because I felt there was an attempt to stifle me as an artist. The best revenge I could have was to write.