Ice Cube Quotes

That's what I've always wanted to do - work with my favorite writers and make something from scratch with them that we can feel like didn't exist before we came in the room.

I hardly ever go into the studio with a work complete in my head. It emerges from communal activity.

My career is based primarily upon finding a balance with a director and their vision, and that means sublimating my own personal ego toward their material.

You can be playing a line some way and the director wants you to change that, or you can disagree. But I always think that the creative conversation between director and actor is what leads to good work.

A writer should write with his eyes and a painter paint with his ears.

I became producer so that I could work with persons like him and to rock the world of Hong Kong Cinema a bit.

It's amazing to be able to work with people right at the top of whatever they do... inspiring photographers and stylists with very interesting visual language. The more I do it, the more I enjoy it.

The number of e-mails and letters that I get from choreographers, from sculptors, from composers who are being inspired by science is huge.

My approach to working in movies is to empower the director to have power over me and to really support his vision because he's the guy, at the end of the day, who's going to put it all together.

The idea, as a director, is to be able to bring everybody on board and to inspire and give energy to everybody and to explain specific color, specific ambience. I need to be very precise, but I think I'm a better director when I'm more a channeler than a dictator.

I guess I gravitate towards stories that I like and directors that I want to work with, and I hope that it works out.

When I'm working with an artist, my job is to make their vision come to life.

Jeph Loeb has been great to work with, and he's been really supportive of some really bizarre ideas I've had.

I like working with directors I respect, who give me freedom but also give me a good base from which to work.

It's easier and sociabler to talk technique than it is to make art.

An artist's concern is to capture beauty wherever he finds it.

And its object is Art not power, sub-creation not domination and tyrannous re-forming of Creation.

I have a hard time visualizing anything, which is why I'm not a director, and which is why I try to work with ones I know have a strong idea in mind.

You know, artists are influenced by other artists. We're all deeply influenced by what's around us; we don't make anything cold. Sometimes we think that we do. But within that, the most important part is that even though we're influenced, what are the levels of invention that we carry forth even as we've been influenced by something that's come before?

I am very excited to work with people who have a strong vision of what they want. They're trying to tell a story, and they want to use me. I'm there to facilitate that. I really like that. I'm like, "Tell me where your frame is. Tell me what you want, what kind of story you want, and I will facilitate it." That's sort of my job, and it makes my work better when I'm working in that kind of a frame, and hopefully it's their work. It's incredibly collaborative, in the sense that you're working toward a common goal.

The best visual book I can think of is Lynda Barry's What It Is, but although I refer to it all the time it's not a creative writing book per se.

It present to allow me to ask myself questions about what I'm doing. I think that's what visual art does - it either reminds you of something or allows you to question something. I don't know why Robert Motherwell; I love so many different artists.

I always feel when you work with an artist and whenever I work with a really good photographer, I try to give him or her their own artistic freedom because that's the way you get the best work or at least the most interesting work.

Sometimes, when you do the music for a play, there are very clear boundaries as to what needs to be achieved. You're very much a little cog in a much bigger machine.

I think that my responsibility to my art is to try to get it right or to push the boundaries of what I'm able to do in any way.