Matt Berninger Quotes

You're taught - consciously or sub-consciously - to make an indie so you can get through that terrible process and get to Hollywood. I realized when I got there, 'Oh, no; I think I'm better over here.'

On my first album nobody asked me for a lot of advice. It was a producer's album. We were sent the same type songs with stock melodies. It was my first album and I was happy to do about anything they'd ask me.

I don't make films for critics, and I'm not particularly interested in what they have to say, and they don't have a bearing on my audiences.

My last film as director, the National Award winning 'Zakhm,' barely managed to break even. So why should I listen to so-called sensibilities of a handful of critics?

My ambition is we want artists to be able to afford to create the music they want to create, and if it takes them five years to sit down and make the album they want to make, they should be able to afford that. That's my goal.

I suppose we'll make money off our album and our singles and stuff, but, like, they were made as we wanted them, exactly with what we had to say, and done exactly how we wanted them, right? And, like, we didn't put them out to make money. We put them out because we wanted to do them, do you know what I mean?

Bands like Culture Club and artists like me, you tend to concentrate on the live arena because that's where you can be your most authentic. That's where you have the most power.

If there's any profit to be had in Nashville-Underground, it's very long term. We're not about money, which gives us an edge over the labels.

I mean, being a solo artist is very different than being a member of a band. It's absolutely different. The whole situation is very different - situations where you can't really compare, it's so very different. But I found happiness.

It's great to be able to find a way to release your music and do what you want to do artistically and not have to just worry about being accepted by the major label industry.

I was never your average artist, happy to do whatever the record company told me.

I just wanted to do my own albums where nobody could tell me what to do. Roc Nation was the perfect fit because I could do what I wanted to do.

I only think in the following terms: writing, recording, releasing. That's what I have control of. What I don't have control is whether critics or the public like what I do.

It's been so great to have an album people believe in.

I feel happy that I am being honoured for doing films of my own liking.

There will always be some films that the audience would like and some that they don't. But if I start becoming a slave to appreciation, I will be subjecting myself and my talent to one particular type of taste. I don't want to do that.

Honestly, I really can't speak on others, but in a sense, I feel like every artist always has their problems with the industry because we all want to have our creative way.

The success of the first album was almost an anomaly, and it could remain a fantastic anomaly. It was not crafted for commercial success. I remember meetings with my label saying it had no radio singles. For me, the second album was a gesture of independence.

I would never refuse a film or do a film for a certain amount of money.

In America, I don't think you have the creative freedom that I'm used to. Traditionally, it's a producer's cinema here.

In a feature film, the question of censorship always comes up.

Being a pop-leaning, female artist, you'd think that I'd have my record company breathing down my neck and trying to control everything I'm doing. Actually, they've just kind of let me take the wheel.

It's a great feeling being with a label that respects what I do.

At the end of the day, I earn a living by creating music and not sharing it with anyone because I am my own master. I know my worth.

I'm not afraid of a big studio film; I trust my instincts. But for me, it's not really about box office. It's about looking back on your work and not having to apologize for it.