W. Eugene Smith Quotes

I am an idealist. I often feel I would like to be an artist in an ivory tower. Yet it is imperative that I speak to people, so I must desert that ivory tower. To do this, I am a journalist - a photojournalist. But I am always torn between the attitude of the journalist, who is a recorder of facts, and the artist, who is often necessarily at odds with the facts. My principle concern is for honesty, above all honesty with myself.

It's true that I don't rearrange that much in the fiction, but I feel if you change even one name or the order of one event then you have to call it fiction or you get all the credits of non-fiction without paying the price.

I have wanted . . . to commit a murder myself. I recognized this as the desire of the artist to express himself! . . . But-incongruous as it may seem to some-I was restrained and hampered by my innate sense of justice. The innocent must not suffer.

All I can do is say I smell a rat. I don't know where it is or what kind of rat it is, but as an artist, I can express how. But I couldn't responsibly stand up and tell people which way to go, because then I'm just as guilty as the people who are telling everybody else what to do and where to go.

On "Tonight" I think I was torn dreadfully between writing what I wanted to write, but keeping it in a style that would follow up what I had just done. That's where I feel I was untrue to myself as an artist . . . that album and, to a lesser extent, "Never Let Me Down."

I think in a way the great irony or paradox about America is that it makes it so hard for the sensitive person, the artist, the impressionable person, the person whose raison d'etre is to incarnate the creative will, rather than to just make money, and yet that extreme difficulty that the culture poses for us has created some of the best artists in the last hundred years.

A great artist... must be shaken by the naked truths that will not be comforted. This divine discontent, this disequilibrium, this state of inner tension is the source of artistic energy.

Societies never know it, but the war of an artist with his society is a lover's war, and he does, at his best, what lovers do, which is to reveal the beloved to himself and, with that revelation, to make freedom real.

So it can be seen that the trouble with the motion picture art was (and is) that it is too much an industry; and the trouble with the motion picture industry is that it is too much an art. It is out of this basic contradiction that most of the ills of the form arise.

Part of the difficulty in trying to be both an artist and a businessperson is this: You make a picture because you have seen something beyond price; then you are to turn and assign to your record of it a cash value. If the selling is not necessarily a contradiction of the truth in the picture, it is so close to being a contradiction—and the truth is always in shades of gray-that you are worn down by the threat.

If you give a little credit to the concept of the artist, I think you ought to indulge excesses a bit, because that reflects the personality of the writer. Now if a joke is in bad taste or it's not funny, okay, that's awhole different thing, but how you craft a joke is really what the writer's job is, and I don't think that technique should be subject to any editorial constraints.

I feel like writing songs is cheating on acting. It's weird.

I am a journalist and, under the modern journalist's code of Olympian objectivity (and total purity of motive), I am absolved of responsibility. We journalists don't have to step on roaches. All we have to do is turn on the kitchen light and watch the critters scurry.

Whatever an artist's personal feelings are, as soon as an artist fills a certain area on the canvas or circumscribes it, he becomes historical. He acts from or upon other artists. An artist is someone who makes art too. He did not invent it. How it started — "to hell with it." It is obvious that it has no progress. The idea of space is given him to change if he can. The subject matter in the abstract is space. He fills it with an attitude. The attitude never comes from himself alone.

Beauty is for the artist something outside all orders of rank, because in beauty opposites are tamed; the highest sign of power, namely power over opposites; moreover, without tension: - that violence is no longer needed: that everything follows, obeys, so easily and so pleasantly - that is what delights the artist's WILL TO POWER.

There are a lot of artists who haven't lost anything to domesticity. In my case, it probably did happen.

Explaining the $1000 in cash and two watches he was given by two Japanese journalists after he helped arrange a private interview for them with First Lady Nancy Reagan: I didn't accept it. I received it.

...the problem of space remained, she thought, taking up her brush again. It glared at her. The whole mass of the picture was poised upon that weight. Beautiful and bright it should be on the surface, feathery and evanescent, one colour melting into another like the colours on a butterfly's wing; but beneath the fabric must be clamped together with bolts of iron.

An artist who dedicates his life to art, burdens his art with his life, and his life with his art.

Talk about a struggling artist having to work against enormous odds ... But I love movies so much, so I'm going to do it.

All my friends are artists, so I am used to collective agony as a mode.

The director works as an interpretive artist, but he's still an artist, so you also have to give him room to create and to put his vision of the play or his translation or interpretation of the material on the stage.

Anybody is qualified, according to everybody, for giving opinions upon poetry. It is not so in chemistry and mathematics. Nor is it so, I believe, in whist and the polka. But then these are more serious things.

The writer of history is perhaps closer to the artist than the scholar.

Art is for the artist is only suffering through which he releases himself for further suffering.