Sholom Aleichem Quotes

In terms of design, it's true the world has an influence. But, as a designer, you have to protect yourself. You have to look at the world and then forget it.

In my opinion, some of the hip-hop records that come out, people are willing to compromise. I'm not.

In the music industry, we value large success. I realized that while I would like that, that it's not what my writing is about. And if I start making it about that, it becomes impure.

All the arts, to varying degrees, involve some kind of a compromise. This being so, how far need the radio dramatist go to meet the public without losing sight of himself and his own standards of value?

The condition every art requires is, not so much freedom from restriction, as freedom from adulteration and from the intrusion of foreign matter.

The worst state of affairs is when science begins to concern itself with art.

At the same time, I definitely want to expand my fan base but not at the expense of prostituting my music or heart.

I've never put out a song that I wasn't completely proud of and that I didn't love. In that sense, I've never felt like I sold out in any way.

It's my music. If it's not good enough, then that's how it will be.

For the first four or five years I was in Korea, I took a lot of direction from my management and label in terms of what people want. I found myself trying to fit into that thing I never felt comfortable with because the critique I got was that I was too American, and too sophisticated and polished in terms of my musicality and it won't sell.

I have this memory of being 15 years old, sitting with a friend on the steps of a little bookstore on Bloor Street in Toronto and saying, 'I'll never take money for my writing!' I had such idealism about this idea of trading your soul for money.

There will always be some films that the audience would like and some that they don't. But if I start becoming a slave to appreciation, I will be subjecting myself and my talent to one particular type of taste. I don't want to do that.

If the story-teller is to nourish the roots of his culture, society must set him free to follow his vision wherever it takes him.

I don't like post-modernism. It's cynical, and takes no discipline - you just copy. It doesn't allow a film to be open to reality.

As many have said before me, artists are creative people who can't be dragged into the politics of nations. I have always made a concerted effort to maintain this standard for myself.

Obviously, I would like to play to bigger audiences and have a bit more success, but not if I have to commercialize.

The music business is a crazy game, especially for somebody like me who is really a purist about the art. Trying to balance the pressures of commercialism, it's a tightrope. It's a fine line between sticking to your guns and insanity.

I think it's time British filmmakers stopped allowing themselves to be colonized so ruthlessly by U.S. ideas and stopped looking so slavishly to the U.S. market. It demeans filmmaking when they do that.

I really believe in not compromising your art. I feel like I've never compromised my art.

I feel you lose your audience when you make movies for others and not for yourself or your people.

When films are so hero centric, and directors are dancing to the tunes of the hero, where is the Kannada voice or song?

I feel like there's a lot of pressure on artists to be 100-percent organic all the time.

I think one of the studio's characteristics is to embrace wholeheartedly what we feel is interesting; what we perceive to be worthwhile, cool, or beautiful; and to place these ideals at the foundation of the games we make.

Doing any kind of culture in America in which you are not trying to affirm a European aesthetic is war.

As a creative individual, I really go out of my way to avoid the corporate scene in terms of songwriting. If the first question is how much money is it going to make, I'm going to be in trouble anyway.