Yui Mizuno Quotes

Performa's founder and prime mover, Roselee Goldberg, has great instincts for which artists might collaborate well together.

One of the core reasons for creating 'Station to Station' was to provide a space for exploration and cultural friction between different mediums. It should be natural for mediums like music, film and art to cross over, and we wanted to empower that process.

Today the arts exist in isolation, from which they can be rescued only through the conscious, cooperative effort of all craftsmen. Architects, painters, and sculptors must recognize anew and learn to grasp the composite character of a building both as an entity and in its separate parts.

I think it's important that your work is in conversation with artists in your community.

You can't just hoard your ideas inside the ivory tower. You have to get them out into the world.

Art, like sex, cannot be carried on indefinitely solo; after all, they have the same enemy, sterility.

For ages past the Genius of Literature and the Genius of Art have walked together hand in hand. For the Goddess of letters is blind, and only she of Art can lend her sight.

It's good when someone says, "Would you write a song for this purpose," or "would you record a song for this purpose," or "would you help me realize this song," again, for this purpose.

I love working that way, and that's sort of the way that Mark, Jay, and I have been working for years, where we start with scripts that are really solid and well-written. But once we get into the scene and we start doing the work, we definitely loosen things up.

Musicals are — particularly musicals — plays also, but musicals particularly are… the last collaborator is your audience, and so you’ve got to wait ’til the last collaborator comes in before you can complete the collaboration.

Every project is different. When I'm working on my albums, I've worked with different producers and they've all had different personalities. The recording studio sets the vibe, and that changes as well.

The relationship between an actress and her director is often a very close one.

Anton brings the camera. I'll bring a tuba, wear black, not shave, and take us to a burned-down Chinese restaurant. (On being photographed by his longtime photo collaborator Anton Corbijn)

If you get a song right for its usage at the time, it can be useful to others. ...Those songs are more friendly to other artists looking for material.

For any actor to have Oliver Stone call him or her up… It’s a compliment. He expects you to be on your toes. If you’re not, he pokes at you until you react. He’s very provocative, creatively. It started like a lot of hard work, but it ended up a lot of fun.

Grant that I have enough suffering that my heart really opens to the great compassion of this world, that I be given enough so that I don't wall myself off from the world, that it breaks down the heart and the separation and the ego and the fear, and it lets me touch the nectar, the milk of kindness itself, of something greater.

With a film you go with the script that's already written. And I've never thought of a project, a film that would come from my own desire. I don't think I can do it. I need someone else's desire to be able to do something. With a record, it is completely different, it's a collaboration with another artist, but I'm willing to go into intimate places with no masks on.

A commission and an original are two different things, and both have their virtues and vices. A commission is a bit more collaborative, in that you outline the story that you think should be told, and then you write it.

I'd never done nudity in a movie; I've never sort of condoned it for myself, but David Lynch wanted it, and I was completely comfortable with it because that love story was so protected. There's never a moment where you feel anything is exploited.

You have to collaborate with the moment and the environment. It kind of was magnified by the house being a studio.

In the creative sense, I'm looking forward to collaborating with people I have mutual respect for to create some really good work.

I doubted Black-ish , and I'll tell you why. Because it doesn't matter if a writer wrote it for you. He could've written it with you in mind. But TV is a collaborative art. It involves producers, networks, studios, and many people signing off on you. And a lot of times there are deals in place - actors with studios that they're looking for shows for.

In some way, the relationship between a director and an actor is personal.

The longer I've been writing scripts, the more I find that you have to give the artist more leeway or else you'll just be disappointed. You can't force them to draw every image that's in your head. Since I'm a horrific artist, I wouldn't want them to anyway. So I definitely give them a lot more leeway now than I did at the beginning.

I consider it a great honour that my movie Drive inspired so many wonderful artists to come together and create one ultra-cool glam experience.