Sol LeWitt Quotes

I used to think that, when I was a director, I would have a very specific vision of what everything would look like, but now I am more of a camp counselor.

It is the director's vision, and as actors, we are just extensions of that.

I don't design. I don't paint. I absolutely never touch my works.

I talked to the record company about what I had in mind. They said they wanted something lush. I figured the best thing to do was let them hear what I had in mind.

Designing a house is like doing a movie: Once you're done, you want to say, 'I hope you all enjoy it.'

When I give over to somebody's vision rather than have an idea of what I need to do, it takes me to places I wouldn't have got to by myself. I'm always attracted to a strong director.

I do everything. Of course, I have 50 people who work for me to do the drudgery of mold making and all the foundry. This is an enormous task. But every stroke in these sculptures is from my hands.

With Lady Gaga I really stretched myself as a creative director, and because I was with this artist from before she got signed I was able to really take control of the opportunity and execute as a creative director.

When the director has a vision for a piece that I've never heard before, and they can back that up with visuals, and they talk a good game, I get really interested in the world that they're trying to create.

Everything I've ever written, I had a very distinct vision of what I wanted it to look like. But, other directors never do it that way.

If the audience knew what they wanted then they wouldn't be the audience, they would be the artist.

I am but an architectural composer.

I think a lot of people have the Frank Lloyd Wright model in their brains. The architect comes in with this act of creation and lays it down, and that's it. But that's not me.

Directing is a really kind of amazing thing, because you're helping others and, in the middle of that, you have to worry about yourself.

Ultimately, the artistic part of architecture has always interested me.

When I go in the studio with Post, I have a really good idea of what he's going to gravitate to, what we can work with.

An architect is not an artist but an optimistic realist.

Now I really make the little idea from clay, and I hold it in my hand. I can turn it, look at it from underneath, see it from one view, hold it against the sky, imagine it any size I like, and really be in control almost like God creating something.

When I started, I was 23 years old directing my own music videos; I'm co-producing on my album; I'm hands-on with everything. I'm more than just a pretty boy: I'm an artist. I'm not saying I'm a hip-hop music artist, I'm an artiste.

A craftsman knows in advance what the finished result will be, while the artist knows only what it will be when he has finished it.

The architect is not only the director, but he is the composer. And, as a composer, the architect brings a sense of creativity to each building.

If I'm collaborating with an artist I like to give them my point of view and if they don't want to take any of my recommendations it's fine, but it's hard otherwise.

If I'm talking to a photographer, I'm talking to a stylist, I'm talking to a makeup artist, we're kind of creating and collaborating and making something that is artwork and is special and is different.

I was being generous. Gia Coppola wasn't even a filmmaker at that time, but I asked her to do it, because I believed in her as an artist. And because I wanted a woman's take on the material. The book Palo Alto is very male-centric, but Gia carved out a bunch of the female characters, and brought them to the fore in the movie. And the project was richer for it.

As an architect, I try to be guided not by habit but by a conscious sense of the past-by precedent, thoughtfully considered...As an artist, I frankly write about what I like in architecture: complexity and contradiction. From what we find we like-what we are easily attracted to-we can learn much of what we really are.