Matthew Williamson Quotes

Fine artists reflect, and then they act. Fashion photographers - we act, and then we reflect.

Over the years I always did some water colors, and I did a series of pictures of drawings. I always did it during a period of time that was slow in the photo business, but in essence it was always frustrating because I'd get started, and then it would be time to get back to work and I wouldn't get anywhere with the painting.

I try to make pictures I would want to see.

Usually, an author writes a manuscript that is handed in to the editor. The editor will then work with an art director to find just the right illustrator for the job, and off they go. Many times, the illustrator and author never meet.

When I sign on for a project, I'm there to give the director all the material he or she might need to tell their story, and that's the number one priority.

I think each shoot has a different personality.

I'm not the kind of artist who has an idea and then carries it out; it's more like I find what the idea was through doing the paintings.

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.

Music is very influential to my writing, as are theater and film.

I make work a bit like how you mix cocktails - with ingredients like budget, history and location.

My only worry is the painting I'm doing. Nothing else.

A secondhand wardrobe hand clothes doesn't make one an artist. Neither do a hair-trigger temper, melancholic nature, propensity for tears, hating your parents, or HIV. I hate to say it - none of these make one an artist. They can help, but just as being gay doesn't make one witty... the only thing that makes one an artist is making art.

Every film is its own experience, its own planet, its own family. It seems infinite when you're working on it, and then it's suddenly very finite, and it's done.

So much of what we do as artists is a combination of personal experience and imagination, and how that all creeps into your work is not so linear.

I'm from the creative side of Hollywood. I'm up for anyone that wants to support my work. If you have eyeballs and give me a budget and are nice to me, I'm in.

I used to paint pictures - what happened was, I used to draw and paint pictures. And some of my friends would be, like, 'Yo, you should put that on a T-shirt,' because that's where their brain would go.

In any great art, you create a world, and you invite people into that world, and hopefully, it's fleshed out enough and you've explained it well enough.

Could Hamlet have been written by a committee, or the Mona Lisa painted by a club? Could the New Testament have been composed as a conference report? Creative ideas do not spring from groups.

Growing up, I enjoyed drawing, but it was always in the service of an idea. I drew all the time, and I enjoyed making.

It's interesting that the wondrous 'Hamilton,' which I could not be more ecstatic about, has taken a long time to perfect to bring it to Broadway. And it wouldn't have been possible if it was developed in the commercial theatre from the get-go.

The dream, I think, with any project is it starts with an idea, and then somebody writes it, and the writer hopes that a director comes on and makes this piece of material visual, and both the director and writer hope that they can have actors come in and bring something to it that neither one of them expected, elevating it along the way.

I put on the canvas whatever comes into my mind.

'Guava Island' is the end result of four incredible weeks spent in Cuba with some of the most inspiring creative talents I've ever met.

I've always tried to create music the way Kubrick makes film, just kind of mimicking consciousness. He has a way of mimicking this greater power.

The relationship between a director and an editor in documentaries is so important.