Red Grooms Quotes

Indeed, an engineer designing a structure is not unlike an artist painting one. Both start with nothing but talent, experience, and inspiration. The fresh piece of paper on the drawing board is as blank as the newly stretched piece of canvas.

Music is a lot more like solving an intricate puzzle with moments of pure, random creative bliss... whereas painting is much more purely random creative bliss with moments of problem solving.

About 1998, when 'Wide World of Sports' and the 'Footy Show' came to an end for me, I couldn't type. When I started architecture, it was a very aesthetic, creative, an almost art process, where lettering and thick line were how you expressed yourself on the paper.

I paint on the ground. I paint with sticks, with big paint cans, and whatever else falls in it. Basically, what I'm doing is capturing unbridled emotion and putting it on canvas. It's like capturing lightning in a bottle.

When we make a record, we don't discuss how we are planning on doing it. It's a very natural and organic growth.

I would say any creative person has that: you can't just force a topic. Whether you're a painter, you want to do a cartoon. Anything. Something may come up that's not your style or suited to what you are working on at the moment. So you file it away and hopefully find a place for it.

I prefer every time a picture composed and painted outdoors. The thing is done without your knowing it.

Never, never do I set to work on a canvas in the state it comes in from the shop. I provoke accidents - a form, a splotch of color. Any accident is good enough. I let the matiere decide. Then I prepare a ground by, for example, wiping my brushes on the canvas. Letting fall some drops of turpentine on it would do just as well. If I want to make a drawing I crumple the sheet of paper or I wet it; the flowing water traces a line and this line may suggest what is to come next.

You can't improvise without a skeletal structure; you can't just go in and start talking. This is a very misunderstood craft because no one else makes movies like this.

I love going into the studio with just an idea of the direction. Like, I want this tempo... I love to start from scratch, and the tracks sort of take on a life of their own.

Improvisation, if you play it at the top of your intelligence, leads to a kind of truth that people find really accessible.

I like a director who is very observant and is watching what I'm doing and noticing what I'm doing but is giving me time to figure it out. They don't jump right in and give you a note before you've had time to really search on your own with how to do a scene. I like a director that encourages me to be playful.

With Fincher, you can take chances and try things. And what happens is that any pretension and preparation you've done, all the square, intellectual work, you can't keep that up for 40 takes. It breaks down, and new things start popping up. This, for me, is the most exciting thing about film-making.

You are always drawing from your personal life and using your imagination to fill in the blanks.

A lot of directors will do a certain amount of storyboarding and pre-vis, and yet when they get on the set, everything starts to change, and they have new ideas.

In our case, we have no script. So the only people we can work with are people who have been working with us in the past, and they know we are going to do something; it's kind of a trust.

I don't even think about maintaining a relevance. I just think about what do I want to paint, what am I gonna do now, what am I gonna do later.

Whenever I'm making songs, I am pretty much, quote unquote, freestyling them into existence.

I think that the more comfortable and the more you rehearse - granted, I don't like to take the air out of a tire; there is a fine line - but I think the freer you are with your dialogue, for example, the more open you are to a good idea walking up to you.

I think the best thing you can do for an audition is to just do your work, be creative. It's OK to be spontaneous.

I'm inspired by Jackson Pollock; splashing layer upon layer, using different materials, experimenting with new methods to produce something fresh. I'd love to be able to create in this way!

I had a studio visitor ask me when a piece was complete, and afterward, I realized I was kind of annoyed by the question. I wrote down to myself, 'Nothing's ever finished' as an operating value.

I've always been a very visual creator. I make mood boards or sit with coloured pencils and scribble and try and figure out what I'm trying to work through musically.

One thing I tend to do is ask actors tons and tons of questions to try to get at what they're thinking but also to expose to them whatever box they've placed their characters in - to blow up that box so the journey can begin.

I never have a clear goal or a theme when it comes to writing an album.