William Morris Hunt Quotes

I'm more relaxed about how the editing process will create a performance and that, in a way, gives me a sense of freedom.

If I crave a frequency in the mid, I'll just drag in a sound and try to mold it into what feels right. It happens very quickly. And if I've been making a piece of music for five hours and it sucks, I'll just throw it away.

It may sound affected - but it is the act of creation itself, and it is equally exhilarating whether one is working on a teaspoon or a national bank.

At 10 o'clock in the morning I'd go right in the studio. It feels good to be there in the morning before the day starts to mess with you - I don't mean in a negative way, but before I'd speak to a lot of people or get into anything, I'd go in there and just see what I felt. A lot happens in the morning for me in the studio.

You don’t ask a writer what typewriter he uses.

Painters paint outdoors, or in rooms full of people; they paint their lovers, alone, naked; they paint and eat; they paint and listen to the radio. It is a soothing way of doing your job.

A lot of artists need structure.

I have to hope that my instincts will do the right thing, because I can't erase what I have done. And if I drew something first, then my paintings would be illustrations of drawings.

In drawing, I don't erase. I believe the original gesture has to be the best.

I had been working purely abstractly for so long, it was important for me to see whether I was working abstractly because I couldn't work any other way, or whether I was doing it out of choice.

Acting to me is a very organic art form and you just go and do it. And I like to direct the same way that I like to be directed. Let me bring in what I want to bring in, and if something's wrong, just tell me about it and I'll make some corrections or adjustments. And that's what I do.

I was meticulously copying other art and then I realized I could just use a camera and put my time into an idea instead.

The only thing one can give an artist is leisure in which to work. To give an artist leisure is actually to take part in his creation.

That's where the most beautiful art is always created, when you have someone not worried about what the outcome is.

When I paint, the Sea Roars Others Splash about in the bath

Sometimes I'm in the studio, sometimes I'm not. It's about delivering the music to the artist, but it's also about the inspiration.

I started doing 'figures', then, one day, all of a sudden, I started doing abstraction. And then I started doing both. But it was never really a conscious decision. It was simply a question of desire. In fact, I really prefer making figurative work, but the figure is difficult. So to work around the difficulty I take a break and paint abstractly. Which I really like, by the way, because it allows me to make beautiful paintings.

A lot of times, I'll have a goal, I'll start writing, and I'll end up in some far off place, which is good. It's nice to have a focus, but letting the lyrics write themselves where they need to go is important.

I have always been haunted by the feeling that the painter has much to gain from making use of the forces that tend to work against his action.

Sometimes I find myself at three o'clock in the morning painting something and throwing things around and seeing what works. I'd like to properly study fine art. I think it would be quite an interesting endeavor.

My experience creatively is different than my experience in life, for, as my father would say, the simple reason that you can't get hurt when everything goes wrong creatively.

I wonder if I would have been capable of producing anything if I worked in a more conventional way with a prewritten script, because I'm of the procrastinator class.

If I was an artist, and I was in the studio, then whatever I was doing in the studio must be art.

When a painter is working he is aware of the means which are available to him - these include his materials, the style he inherits, the conventions he must obey, his prescribed or freely chosen subject matter - as constituting both an opportunity and a restraint.

I personally think if you're given four months instead of four weeks on a play, with the people who want to work that way, the play will invariably be different and stronger, and much more fulfilling and richer on all counts. There's no doubt in my mind about it.