Elizabeth Price Quotes

I've always tried to do shows in a filmic way. I like it when forms smack up against each other.

I've noticed a lot of younger artists have less fear of doing different sorts of things, whether it's various types of music, or gallery artists moving between video and sculpture and drawing.

I learned first of all not to be intimidated by any visual effects that I don't understand. It can all be learned. You can then use them as tools to tell your story. I also learned that you have to be really vigilant, the more complex the movie, to not lose yourself and to not lose sight of the priority.

Alex Poots has always made a bridge between highly experimental and the mainstream.

Experimental film by the '70s had become much more mainstream after 'Bonnie and Clyde' and stuff in the late '60s, when you were seeing bigger movies where people were exploring the medium a lot more.

Before I discovered moviemaking, I hadn't found anything where I could kind of galvanize or meld all of the things that I wanted to do.

My father probably - he had flashes of creativity - he used to do store windows for fruit stores that he worked in and stuff.

I'd like to see the comics' style expanded. I'd like to see artists synthesize traditional comics arts style with fine-arts styles or whatever. I like to see innovation. I don't like it when an art form becomes stagnant.

I am not a visual innovator.

Every art form has its own beauty, but blending it with other forms in separate ways is okay.

My number-one hero in terms of interdisciplinary art is Laurie Anderson, but I've always admired anyone who can think way beyond any one medium.

I think, as a director, it's always worth pushing yourself and finding out new areas and exploring new ways to tell story.

You don't have to compose a masterpiece every time, but I think the challenge of art is always searching for something different, searching for a new sensitivity, a new perspective, a new vision.

I'm not the greatest reader. I feel like I have a bit of dyslexia or something, and that's probably why I became a filmmaker. I have the need to communicate, the need to tell stories; and the need to understand stories led me to movies.

That's how I'm able to work and move between so many different genres - I want to be part of what's happening, I want to make new things.

I'm not belittling the art world. Not at all. I take it quite seriously, actually. But the logic of art is a vanguard logic that pressures art to incorporate the quotient of risk.

Art like life, should be free, since both are experimental.

Every good story is of course both a picture and an idea, and the more they are interfused the better.

I think there is a period of esthetic discovery that happens to a man and he can do all sorts of things at white heat.

I think nearly every artist continually wants to reach the edge of nothingness - the point where you can’t go any further.

Styles come and go, design goes on forever: solving communication problems with new tools applied to the same old common sense.

Artists are free to push boundaries to make art. But when pushing boundaries is their only aim, the result is usually bad art.

In GENESIS, my camera allowed nature to speak to me. And it was my privilege to listen.

First you must have the images, then come the words.

Everyone wants a definition of creativity that makes what they do into something special and what everyone else does into nothing special. But the fact is, we're all creative. We come up with weird and interesting ideas all the time. The biggest difference between 'creators' isn't their imagination - it's how hard they work. Ideas are easy. Doing stuff is hard.