Chris Stapleton Quotes

I'm interested in what happens to music when other people use it. Whereas there are composers who don't like anyone to touch their music, I think people should because they do things I can't think of.

I always feel that if you're going to cover a song, you should make it your own and flip it on its head.

I try to take whatever I can from the songs I grew up listening to, these vibed-out pop numbers, and make them my own in some weird way.

When the artist is alive in any person, whatever his kind of work may be, he becomes an inventive, searching, daring, self-expressing creature.

I can write the stuff and play it myself and have something in my head, but the best feeling is when somebody else plays it and they're hearing something other than what I'm hearing.

The downside of videos is that it will put my vision in front of other people, so they might not get the chance to create their own.

When you're an artist, all you're trying to do is self-express.

My respect for artists is very high. I think to get the most out of them, you have to liberate them. I think part of liberating them is saying, 'Come up with something brilliant, new, and fresh. Stop thinking based on what has been beat into you by executives or publishers in terms of what's going to work and what's not. Don't react, just act.'

When I give over to somebody's vision rather than have an idea of what I need to do, it takes me to places I wouldn't have got to by myself. I'm always attracted to a strong director.

Whenever I hear somebody cover a song, I don't like to hear it stray too far from the original. I like to hear some of the new energy that a band will put into it, but you kind of want to hear some of the basic parts of the song. I mean, that's what makes it the song that you like.

You can never tell when an artist really will take up someone's work and work with it happily.

The best thing is when you hear somebody take your song and make something great of it.

When I do my own books, I take it as more of my own confessional, but when I illustrate for other people, it is intriguing because I feel like I shouldn't be stepping too much into the limelight. It's like playing the piano while someone else is singing.

In other words, musicians know that going back to the Spoonful, what we were doing was not copying.

I try to steal something from the great singers. Of course, I don't want to imitate their sound, but I try to do a sort of compromise.

The freedom of every artist is essential.

Being in the studio is like painting, you know, you can really take your time, and try different things, and kind of go deep into it.

This world is but a canvas to our imagination.

I think the idea of art kills creativity.

I always want to do something I haven't done before and get to work with other actors, writers, or directors that I want to work with.

As a creative person, you want to start with a blank canvas.

Know what the old masters did. Know how they composed their pictures, but do not fall into the conventions they established. These conventions were right for them, and they are wonderful. They made their language. You make yours. All the past can help you.

Composers shouldn't think too much - it interferes with their plagiarism.

For years, I was watching other people have so much fun playing out their version of authorship, like Louis C.K. and Larry David. As I watched them do their thing, I began to pine for the days when I had a lot less expected of me and, often, a lot more creative freedom. The courage that those guys have is always captivating to me.

The painting has a life of its own. I try to let it come through.