Baz Luhrmann Quotes

I was being an artist, being sensitive and technical as artists are. I'm sure Leonardo Da Vinci did that. Artists don't always feel the same as others feel about their work.

When you're doing a film, it's your film and it's, you know, your blood and - is in it along with everybody else's, and it's the greatest picture ever made when you're shooting it. It's only after the critics and then the public say you were wrong that you realize that you were wrong.

If the audience knew what they wanted then they wouldn't be the audience, they would be the artist.

You know, if one paints someone's portrait, one should not know him if possible.

I always feel that my films ought to teach me something about life.

I always wanted to show the world that art is everywhere, except it has to pass through a creative mind.

Everybody expects you to be qualified to talk about your films, but in a way, you're the least qualified person to talk about them. When you're finished, you don't watch them at all.

To be able to take my pictures, I have to look, all the time, at the people and places I care about. And I must do so with both ardor and cool appraisal, with the passions of eye and heart, but in that ardent heart there must also be a splinter of ice.

When a painting is finished, it's like a new born child, and the artist himself must have time for understanding. How then do you expect an amateur to understand that which the artist dos not yet comprehend.

All poetry like every work of art proceeds from a swift vision of things.

Human After All was the music we wanted to make at the time we did it. We have always strongly felt there was a logical connection between our three albums, and it 's great to see that people seem to realize that when they listen now to the live show.

I like to direct the same way that I like to be directed.

I feel like an artist often turns the camera on themselves and on their own families to understand who they are.

I see for others... in order to put on canvas the sudden apparitions which come to me.

The creative process obtains in all creative acts. So if I'm painting suddenly I'll see something that I didn't see before.

A critic is a man who creates nothing and thereby feels qualified to judge the work of creative men. There is logic in this; he is unbiased, he hates all creative people equally.

I never knew [Alfred Stieglitz] to make a trip anywhere to photograph. His eye was in him, and he used it on anything that was nearby. Maybe that way he was always photographing himself.

As the director, you're meant to be critical and you are, so there are loads of things. But the thing is, the way I look at it is, to try to get some measure of success, it's dangerous to look at financial or critical success, or positive response as a measure.

As photographers, we must learn to relax our beliefs. Move on objects with your eye straight on, to the left, around on the right. Watch them grow large as they approach, group and regroup as you shift your position. Relationships gradually emerge and sometimes assert themselves with finality. And that's your picture.

The particulars of life do not matter to the artist; they merely provide him with the opportunity to lay bare his genius.

Two qualities essential for the artist: moralityand perspective.

l photograph what l do not wish to paint and l paint that which l cannot photograph.

We don't take photographs with our cameras, we take them with our hearts and our minds. They are a reflection of ourselves...wha t we are and what we think.

I just see myself as an object in the final image. I know I'm experiencing it when I'm there working on it. I'm there to be worked with, as anything else that I work with.

My job is to paint what I see, not what I know.