Suzanne Lee Quotes

The best directing style is the one that lets me do whatever I want. Seriously though, I like to be challenged and I like to collaborate. I love finding the medium between what I think and what a director does. I hate when a director uses the "my way or the highway" approach. But it also sucks when they tell you everything you do is great and offer no input. It's a fine line a director has to walk. It is a hard job.

I see no thread running through my work; I simply get on with my life and my painting.

I know of no painless process for giving birth to a picture idea. When I must produce, I retire to a quiet room with a supply of cheap paper and sharp pencils; my brain knows it's going to take a beating.

I'm not much of a math and science guy. I spent most of my time in school daydreaming and managed to turn it into a living. When I was making "Star Wars," I wasn't restrained by any kind of science. I simply said, "I'm going to create a world that's fun and interesting, makes sense, and seems to have a reality to it."

Oh! I must somehow manage to do a figure in a few strokes.

There's nothing harder than making a mellow, clean record. It's really scary. I can see why people would never want to do it.

Then you learn about composition, you learn about old masters, you form certain ideas about structure. But the inhuman activity of trying to make some kind of jump or leap, where , the painting is always saying, 'What do you want from me? I can only be a painting.' You have to go from part to part, but you shouldn't see yourself go from part to part, that's the whole point.

Writing must certainly be one of the hardest professions - writing and painting.

The challenge for an artist is always to find your own way of doing something.

The art is the challenge which you must meet every day: the technique you should learn to control with time. The science and the art of photography are really one, and not opposed to each other.

Everything I do, in the middle of it, I lose all objectivity. The business of comedy is kind of ridiculous in that respect. Your job is to have a lot of fun in a jar, then sell it. There's something inherently illogical and impossible about that, but that being said, this is as good as it gets.

I did end up becoming a drawer, a sketcher and a painter because of comic books, but I didn't read them. Not at all.

All the good pictures that came so easily now make the next set of pictures virtually impossible in your mind.

It's always hopeless to talk about painting - one never does anything but talk around it.

The writer must be in it; he can't be to one side of it, ever. He has to be endangered by it. His own attitudes have to be tested in it. The best work that anybody ever writes is the work that is on the verge of embarrassing himself, always.

A work in progress quickly becomes feral. It reverts to a wild state overnight. It is barely domesticated, a mustang on which you one day fastened a halter, but which now you cannot catch. It is a lion you cage in your study. As the work grows, it gets harder to control; it is a lion growing in strength. You must visit it every day and reassert your mastery over it. If you skip a day, you are, quite rightly, afraid to open the door to its room. You enter its room with bravura, holding a chair at the thing and shouting, "Simba!

The problem of making the inner meet the outer of today is, of course, the function of the artist.

writing is the loneliest job in the world. There's always that frustrating chasm to bridge between the concept and the writing of it. We're a harassed tribe, we writers.

I've got a penny-ante talent, out of which I try to drum up a living for myself. And what nobody seems to realize is that it's just as difficult to get a bad idea as a good one.

Developing characters is a collective process, on one hand; it's an individual process on the other. The truth is rarely pure and never simple, as dear Oscar Wilde would say. A great of it, of course, is, you collect as much information as you can and then you put it into the mulberry of your mind and hope that you come up with a decent wine. Sometimes you do; sometimes you don't.

The ordinary man puts up a struggle against all that is not himself, whereas it is against himself, in a limited but all-essential field, that the artist has to battle.

I want painting to be difficult to do.

I feel like finding the balance is the struggle with making music in general.

I don't read novels whilst I'm writing one; I just haven't got a wide enough brain to concentrate on incoming and outgoing in the same time zone.

It is the common defect of modern art study. Too many students do not know why they draw.