Peter Marino Quotes

I'm the creative director of awesomeness.

Basicly I'm in charge of all creative aspects of the show.

I'm a creative guy, a designer, a customer.

I do like directing other people's material.

A good designer has technical knowledge - don't treat her like someone who's there to decide whether something should be pink or orange.

Of course, I did lots of what would be called graphic design now, what used to be called commercial art.

I like to come to the set with very strong ideas and strong opinions about how to do things. And I like also dealing with somebody who's like that.

When I work as an art director, I don't ask to see sketches from illustrators or photographers. I give them a basic idea, and then I say, 'Send it to me, it'll be fine' - I get out of the way.

I never wanted to be a creative director.

I'd want to start being a creative director of a specific line, like Adidas, for example. If they called me up to collaborate on something, I would do it.

Often, particularly towards the end of the process, I think of myself less as a theatre director and more as someone who just directs the traffic. My job is to move the ideas and bits of the show into the places where they work best. Sometimes my job is also to say, 'No.'

My name is on the door, and I care very much about the design that gets put out. I'm sorry, but it has to be my way. You learn that by working for people like I. M. Pei. You think he isn't a design tyrant? Is Calvin Klein a tyrant? When it came to his dresses, he had to be.

'Creative director' is a catchall phrase for giving ideas. To me, it obviously means more than that. It's like being a counselor.

The thing I loved the most about being art director was picking the photographers and working with them.

And I think being a good director is being able to be completely tyrannical and you've got to be an absolute dictator while at the same time, you have to listen and see everything because it can all change on a dime.

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.

As both a fine artist and a graphic designer, I specialize in the visual presentation of words.

A lot of my branding has come from stubbornness - I knew what I liked. I knew what I wanted to do.

I've worked with a lot of directors who really don't have a sense of what the hell they want.

After working for a while, I realized that acting was only satisfying about 30 percent of what interested me about the filmmaking process. Somewhere around age seventeen, I started to realize that if I'm very particular about the people I work with, then I can have the best sort of master class possible.

Providing, meaning to a mass of unrelated needs, ideas, words and pictures - it is the designer's job to select and fit this material together and make it interesting.

Some directors have just one way of working; you either have to adhere to it or you don't.

I'm not an art director; I'm just not. I've always been somebody who has a sensibility that I hope is the same sensibility of others.

Film is a very collaborative medium. If you're smart enough, you learn how to maintain your vision while drawing resourcefully from all the people around you.

One thing I learned working at magazines was that if you couldn't get people to look at a page or a cover, then you were fired. It was all about how you create arresting works, and by arresting I mean stop people, even for a nano-second.