Ha Ha Clinton-Dix Quotes

I do what I feel I know how to do and don't do things that I don't. I'm a product of my sensibility.

I came to filmmaking because it's my passion. I decided I can't have it distorted or marred by someone else deciding what it should be.

I think that, to be an artist, you have to have a big enough ego to believe that people out in the world want to see what you think is a good idea. And if you don't have that sense of ego, then the minute that idea goes into the world, self-doubt kicks in.

I mostly don't submit to talking about my work because I would like another talk about real life.

I don't think I'm making any great statements, and I certainly don't think I'm making art.

I'm self-confident and not afraid to speak my mind.

I don't like talking about myself. I don't like talking about my personal life.

You can't intellectually purge yourself of who you are. Whatever that is, it's going to come out in the wash, the film wash. What you are is going to be relevant, if not to yourself, to the movies you make.

People see that I have my own voice, my own opinion, my own likes. The album really reflects that.

In my mind, the plays I was writing were extreme examples of art for art's sake. I didn't necessarily think that other people would love them, though I thought they probably would.

I can interpret my own work honestly. And performing by myself seems to focus the attention in the right places.

It's funny, but no matter how good an artist is, it's not until he stands on his own two feet and sticks to his guns that things are going to come together.

No-one but me gets into my head.

No one controlled Frank Sinatra or told him how to sing. No secret group of managers has been telling someone like Jay-Z what to do or how to look. And no one tells me what to do except me and the people who believe in me.

I think I'm pretty confident, and I know I'm different than everyone else, so I'm going to do what's me.

Every time we put out a piece of art, it continues to define who we are. What could possibly be more important than that and require more of your focus and your time and your energy.

You have to remain strong. That's the kind of filmmaker I want to encourage. Orson Welles was the one who said, you know, you can learn anything you need to know about filmmaking- that's camera, sound, celluloid, video at this point- in four hours. It has nothing to do with anything. It has nothing to do with it... It has to do with what you want to say. If you feel you have something to say, you'll find that way to get it said, on film, and not let anyone or anything chip away at that or tarnish it, because it's something special and precious.

When an artist explains what he is doing, he usually has to do one of two things: either scrap what he has explained, or make his work fit in with the explanation.

[When making movies I] set out to be authentic to [myself] and to put it down the way [I] feel it and know it and interpret it. And then others sometimes key into it and get it.

I periodically realize every few years that the only person whose taste I really trust is me.

I don't like to talk about myself.

Every spoken word arouses our self-will.

I don't write for a particular audience. I work as an artist, and I think the audience of one, which is the self, and I have to satisfy myself as an artist. So I always say that I write for the same people that Picasso painted for. I think he painted for himself.

I don't give advice. 90% of the time nobody takes it anyway. I will give encouragement and if asked a question as to how, or why I did certain things and if I think this will help whomever is asking the question I will do this.

I want to write and direct and kind of do my own thing.